National Identity and Conversion through Medieval Romance: The Case of Hrafn Gunnlaugsson's Film I Skugga Hrafnsins (2003)

IN DIRECTOR Hrafn Gunnlaugsson's 1988 film, I Skugga Hrafnsins [In Shadow of Raven], conversion to Christianity, despite promise of spiritual salvation and national unification, is inherently a competition for social dominance. In opening sequence, Gunnlaugsson juxtaposes midshots of boat's passengers with voice-over long shots of troubled boat to introduce three of four sources of dramatic tension that will occupy film--religion, environment, settlement--to which romance will later be added. In an extreme long shot, a Viking long boat violently tosses on a gray sea barely visible as it sails seemingly without direction into camera's frame. This arresting dominant contrast is enhanced by sound of ocean, noticeably lacking any dialogue or musical score. As film's establishing shot, it stresses uncertainty of human endeavors while honoring fortitude of man's desire to settle and to explore a world where gods are present nature and fate is irrevocably tied to natural, unpredictable forces. A frantic seaman sounds alarm indicating that boat is off course and approaching a field of drift ice as hero, Trausti, dressed a clerical hooded cloak, appears resolute, holding his book--a sign of Norwegian literacy, religion, and culture. Recalling biblical voyage of Noah as well as account of Hrafna-Floki Landnamabok, scene includes release of a by crew hopes that it will guide them to Iceland. After a moment of hesitation and fear as it circles boat, bird flies off-screen, leading overjoyed crew who will follow raven home. Hence, in shadow of raven--an overt sign of Iceland's past and present paganism--the newly ordained hero brings Christianity to his home, which is simultaneously threatened and protected by a fate that resides nature, ever-present, everlasting, and ever-changing. Commenting on opening sequence, Peter Cowie notes that images force the clash between gentility of Christian dogma and dictates of life a harsh environment (25). Often criticized for its extreme violence that at times tends toward camp, I Skugga does not pretend to tedious historical accuracy. Gunnlaugsson's refusal to shy away from unpleasantries of early Icelandic settlements, however, reminds modern viewers that social and political change is rarely without cost, despite some historians' tendency to romanticize national origin. In an email sent to Jessica Weinstein 2 March 2002, Guunlaugsson is quick to shun idea of Waguerian romanticism; I Skugga rather focuses on transitions as slow and violent as volatile Icelandic landscape. The year is 1077--a mere seventy-seven years after Iceland's unanimous and peaceful conversion to Christianity at Alpingi (Magnusson 137-47; Karlsson 33-43). When Trausti returns to his farm Iceland after clerical training Norway to assume leadership of his family, (1) they quickly become embroiled a conflict with another clan over legal rights to a beached whale (see Plate 1). The enormous value of whale for survival of a community coupled, with an insult to a hot-headed retainer, elevates preexisting tensions into a blood feud that tears apart three communities. Trausti's adversary dispute is Eirikur, who intends to ally his farm with that of Bishop HfrSur by marrying his daughter, Isold--an unmarried mother--to Hjorleifur, bishop's son. The feud over whale is nothing less than a battle for survival as meat, oil, and blubber of whale could potentially sustain farm that claims it throughout winter; feud necessitates strong family bonds and privileges a code of honor. Likewise, competition for Isold's hand is a challenge not only involving personal pride but also communal necessities. As tensions mount and Trausti's own spiritual loyalty is tested by loss, danger, and both familial and ecclesiastical obligations, he reluctantly admits that vast majority of population remains fundamentally heathen, becoming Christian only when it is necessary or, as he implies, politically advantageous. …