700 AD. Northern Europe is divided into two worlds: the Frisians, Saxons and Danes live above the rivers, below the rivers live the Franks. They want to achieve what even the Romans did not succeed: conquer all of Europe. They put in a new weapon to enslave the Gentiles: Christianity. They target Europe's main trading center, where the Frisian king Aldigisl rules.Written by
Seven weeks after its release it was already moved to video on demand-platform Pathé Thuis. This was at the time the shortest window between a theatre release and home release for a big Dutch production, which normally takes a period of three months. See more »
Dorestad is in the center of the Netherlands, but the movie makes it looks like it is near the sea. The battle for Dorestad is won by diverting the Frankisch cavalry to the sea and having them drown in the upcoming tide. This would have been a two day journey. One historian however has controversially placed Dorestad at the current location of Audruicq, near the French coast. See more »
In January 2019 the movie aired on TV in the Netherlands as a four part mini-series. See more »
Good cinematography and acting, a bit too much revisionist history.
Enjoyed Redsbad, but with s grain of salt. It seems that this genre of film (Vikings, The Last Kingdom, etc) insist on portraying the Nordic, Danish, Frisian, whomever) as superheros on the battlefield. As a student of history, I can acknowledge their prowess (even with the need to exaggerate the tiny percentage of women who actually engaged in battle or raids) within limits. It seems that Saxon warriors or Frankish troops are relegated to incompetent or unskilled (scene after scene of some Nordic warrior slaying 4-5 enemy combatants) in so many of these films. It must be remembered that they too where warrior cultures which eventually subjugated these invaders, a task which could not be accomplished without military acumen. The portrayal of the Christianization of pagan peoples also seems greatly exaggerated. Were there abuses and at times over jealous clerics and nobles, naturally, however to paint such a skewed portrait in a film attempting to convey historical events may lead the less scholarly viewer to accept this without question. The perspective in production after production of painting pagan, bellicose, raiding peoples as "noble savages" while casting Christianity in a negative light seems more a reflection of the producers and writers' agendas than fact. I look forward to these same film makers creating a series of films illustrationing the centuries of slaughter, slavery and forced conversations at the hands of Mohammed and his religious descendants, though they would likely be prevented for fear of the Muslim response.
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