A terrible beauty, GODLAND is an epic story of a picture taking priest, a proselytising photographer, sent from Denmark to a wild Icelandic island to build a church and establish a congregation.
The priest, Lucas, chooses to enter his new parish by overland trek so he can get to see the land he is to conquer for God, and to photograph it, capturing its soul, as it were. This photographic exposition works as a metaphorical self flagellation for the priest, who seems at painful odds with his faith and his mission.
There is a lot of music built into the narrative, naturally, practically. Though not a musical by any stretch, there is quite a lot of singing throughout the film: Ragnar with his old poems, songs that while away the hours on horseback.
And the introduction of the sisters, when Ida sings a murder ballad on her way to the house and then Anna sings by the piano at the end of the dinner scene.
Music, singing and dancing also play a pivotal role in a wedding scene, as well as a round of wrestling, men emulating elk, locking horns in a show of masculine brawn.
Shot in the old academy format fits the film fabulously. The format of the film is very close to Lucas’ photography, making faces and landscapes gorgeously sharp.
Writer director, Hlynur Pálmason’s film for all its arduous two hours and twenty minutes running time is never less than captivating. Cinematography by Maria von Hausswolff is breathtakingly luscious. Production design by Frosti Friðriksson captures the opulence of the Danish bishopric in the opening scene and the austerity of the Icelandic outpost. Costumes by Nina Grønlund add significantly to the gorgeous look of the picture.
Sound design by Björn Viktorsson & Kristian Selin Eidnes Andersen conjures the silence of God, not the sound and fury, but a severe silence, redolent of the tone deafness of a deity to the pleas and prayers of humans.
GODLAND is no Eden, no earthly paradise, rather a harsh land, a remnant of heaven, more an earthly outpost of Hell.
