| Cast overview, first billed only: | |||
| Jakob Þór Einarsson | ... | Gest | |
| Edda Björgvinsdóttir | ... | Gest's Sister | |
| Helgi Skúlason | ... | Thord | |
| Gotti Sigurdarson | ... | Einar (as Gottskálk D. Sigurdarson) | |
| Flosi Ólafsson | ... | Erik | |
| Egill Ólafsson | ... | Thord's Brother | |
| Sveinn M. Eiðsson | ... | Guard | |
| Gunnar Jónsson | ... | Erik's Retainer | |
| Þráinn Karlsson | ... | Olaf the Childlover | |
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Anna S. Karlsdóttir | ... | (as Anna Karlsdóttir) |
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Abba M. Jóhannsdóttir | ||
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Anna Reynisdóttir | ||
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Arnaldur Friðgeirsson | ||
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Ármann Ingason | ||
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Birgir Guðjónsson | ||
Ireland: Vikings pillage the land, seeking silver and slaves, slaying men and women in the process. A young boy is spared when a Viking takes pity on him instead of killing him. Iceland 20 years later: The boy returns to take his revenge on the killers, the Norwegian foster brothers; Thord and Eirik, by cunning and hidden weapons. Written by Stle A. Olsen <sao@idt.unit.no>
The thing that shines most out of this film is the plot. The avenging son doesn't just come and kill people, he uses cunning to make them trust him and distrust each other, he separates them and then kills them when he has the upper hand.
The problem, though, is the amateurish directing and acting, something that I know well enough from my own country's productions. The fact that the language is Icelandic (and the horses, too, that's funny) doesn't help much, nor does the clearly minute budget.
In a way, I agree with many of the people that reviewed this positively: this felt like a real life Viking saga, with normal folk being dressed in animal fur and fighting with bow and knife in a dreary land. However, too much realism is bad as well, and I imagine the film would be liked only by a minority of viewers because of it. In fact, it feels like old Spaghetti westerns at times, with the bad sound and silly music added after the filming.
Now, I can imagine this done by Hollywood. They would definitely remove what was good with the script, because their heroes must always be moral and trustworthy, either white or black. The role of the woman would be relegated to something helpless, begging for assistance, rather than the courageous stance the Icelandic character takes. The fights would be epic, touching steampunk, with weird contraptions that mass murder tens of people (but without blood). When I compare this projection to the actual film, the Icelandic version wins, however I can't help think of what this could have been with just a little more resources at their disposal.