What a rattling good yarn this is. And not just that - a rattlingly well-made yarn, too. What the plot lacks in originality, it makes up for in detail. It was a pet project of Kirk Douglas who produced and made room for friends, Mr. and Mrs. Curtis is the cast. Stunning location photography from the great Jack Cardiff makes the most of locations in Norway (Geiranger Fjord?) for the Vikings home village, Brittany for the anachronistic castle used for the siege at the end of the film, and Germany. Richard Fleischer is the excellent director who keeps things moving at a cracking pace and makes the most of the set pieces. He spent more than a year on pre-production, seeking to get historical authenticity into the film (at least by Hollywood standards). They even built three 'authentic' longboats and these almost become extra starring members of the cast. Fleischer had worked with Douglas before on 20,000 Leagues Under the Sea and was to work with Curtis later on the Boston Strangler
Kirk Douglas and Ernie Borgnine give rip-roaring, scenery-chewing performances as the Viking royalty. Douglas looks inordinately pleased with himself, doing his own stunts like running along the oars of the longboat. Tony Curtis has the slightly more thankless role of Erik, but acquits himself well without any resorts to the likes of his famous "Yonder lies the cassle of my fadder"! His wife, Janet Leigh, has little to do but to look pretty (successful) and Welsh (less successful). The Australian actor, Frank Thring, is wonderfully oily and cowardly as the English King, Aella. The upright Senior British Officer from the Great Escape, James Donald, is here the duplicitous Saxon, Egbert. Was this movie an early example of Hollywood finding the English the easiest people to make the villains of a piece?
The film, though discreet about blood, is actually pretty violent for its time. It's all in the direction and the editing, but eyes being ripped out, hands lopped off, etc. are quite strong stuff. The set-piece battles, particularly the vertiginous climactic sword-fight at the end, are classics. The top-shot of Einar's body being walked round the ramparts of the castle seems like a homage to the finale of Olivier's Hamlet, but none the less effective for that. And his traditional Viking funeral as the burning longboat sails into the sunset was surely at the back of John Boorman's mind when he shot the end of Excalibur.
There are many worse ways to while away a couple of hours than this classic 50's swashbuckler.