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“Margrete: Queen of the North” is a historical epic from Denmark that contains almost everything that one might want from such a thing—palace intrigue, familial conflict, sex, violence, jealousy, betrayal and so on. What it doesn’t really have is much of anything in the way of a point or purpose. Although it's undeniably well-made, it lacks the kind of energy that might have helped make it truly come alive, and seem like more than a historical reenactment. 

Loosely inspired by actual events, the film is set in 1402 and as the story opens, the ambitious Queen Margrete ( Trine Dyrholm ) has managed to establish a peaceful union between Denmark, Norway, and Sweden that she rules through King Erik ( Morten Hee Andersen ), whom she adopted as young boy years earlier following the mysterious death of her own son, Oluf. To further solidify her position and to help stave off a potential invasion from Germany, a marriage has been arranged between Erik and England’s Princess Philippa that will help create a new alliance. On the eve of the wedding, just as negotiations regarding the dowry have kicked into high gear, things take a turn when a man ( Jakob Oftebro ) arrives in court proclaiming that he, in fact, is the real King Oluf and therefore the true ruler of the land.

At first glance, the claim appears to be preposterous—it cannot be mere coincidence that he should turn up just as the all-important wedding is about to commence—and Margrete believes that he's an imposter. However, other people in power are convinced the newcomer is actually who he says he is, threatening to throw both the wedding and the fragile alliance between the countries into doubt. When Margrete learns that no one actually saw Oluf’s body after his alleged death, she's forced to confront the possibility that his story is true. With only a few days before everything that she has worked for collapses around her, Margrete sends off a couple of trusted advisors to look into the story and does some nosing around on her own. Meanwhile, the increasingly frustrated Erik lets power go to his head and finds himself unwittingly being manipulated by a number of people who wish to seize control for themselves.

In terms of surface details, “Margrete: Queen of the North” is certainly of interest. Director Charlotte Sieling has given the production (filmed in the Czech Republic) a handsome mounting, while still honoring the grittiness of the period. The film also benefits from a strong, convincing performance from Dyrholm as Queen Margrete, a ruler who has devoted everything to bring peace to the land and will go to any lengths to ensure that all that she has worked for is not lost. Queen Margrete could have easily been reduced to little more than a cliché but she makes her into a real and compelling character.

Too bad that the same cannot be said for the film as a whole. While the basic outline of the story is intriguing, the screenplay by Sieling and co-writers Maya Ilsee and Jesper Fink never quite figures out how to make it compelling in cinematic terms. Outside of Margrete herself, the other characters have not been developed especially well, and it becomes hard to work up much interest in all of the intrigues and betrayals on display. By the time "Margrete" gets to its grand finale, what should have made for a shocking and powerful moment will inspire little more than a shrug from most viewers.

“Margrete: Queen of the North” has been made with some undeniable skill and I suppose that those with a particular interest in the period being covered may find it sort of interesting on some level. However, it never quite takes advantage of the elements that it's working with to the point where it is worth a look. If you are looking for a complex tale of corruption, power, and deceit, involving an empire being threatened by both outside forces and internal familial squabbling, you are probably better off staying at home and binging “Succession.”

Now playing in select theaters and available on demand.

Peter Sobczynski

A moderately insightful critic, full-on Swiftie and all-around  bon vivant , Peter Sobczynski, in addition to his work at this site, is also a contributor to The Spool and can be heard weekly discussing new Blu-Ray releases on the Movie Madness podcast on the Now Playing network.

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Margrete: Queen of the North (2021)

Trine Dyrholm as Queen Margrete

Søren Malling as Peder

Jakob Oftebro as Man from Graudenz

Morten Hee Andersen as Erik

Paul Blackthorne as William Bourcier

Bjørn Floberg as Asle Jonsson

• Charlotte Sieling

Writer (idea)

• Lars Bredo Rahbek
• Jesper Fink

Cinematographer

• Rasmus Videbæk
• Sverrir Kristjánsson
• Jon Ekstrand

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Margrete: Queen of the North review – piercing portrait of a tormented queen

Trine Dyrholm elevates this painterly period drama with a masterfully understated performance as Denmark’s Queen Margrete

B lending the grand visuals of a sweeping epic with the psychological unease of a chamber piece, Charlotte Sieling’s feature probes the legacy of Denmark’s Queen Margrete , a visionary ruler who brokered the historic Kalmar Union that – for the first time – united Norway, Sweden and Denmark against the threat of a German invasion.

But her reign also saw a bizarre mystery in the Scandinavian region, which forms the emotional beating heart of this stately film. On the eve of the engagement between Margrete’s adopted son Erik (Morten Hee Andersen), and Princess Philippa (Diana Martinová), daughter of England’s Henry IV, news broke that the Queen’s biological son King Olaf (Jakob Oftebro) had returned from the dead. This sudden arrival not only unsettled political coalitions but also sent the usually stoic Margrete into a state of distress. Since she was not at his side when Olaf died, her maternal grief encouraged her to believe that Olaf had survived. On the other hand, her monarchical rationality questioned if he was merely an impostor sent to her doorsteps to disrupt a sought-after alliance with England.

Much of this emotional tug-of-war is played out in atmospherically lit indoor compositions, which evoke a painterly, classical feel. What elevates the film from a run-of-the-mill period drama is Trine Dyrholm’s masterfully understated performance as the tormented queen. Her Margrete has no need to shout and weep to convey her turmoil; a mere gaze is enough to articulate the dilemma of having to put collective needs over personal desires. While the plot is at times overstuffed with palace intrigues, this piercing character study carries a contemporary poignancy, as it encapsulates the difficult choices a female leader has to make in a world bounded by patriarchal control.

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‘Margrete: Queen of the North’ Review: Trine Dyrholm Plays a Game of Thrones in a Lavish, Stately Historical Drama

A stranger claiming to be the Queen's son throws the Nordic union into jeopardy in a luxuriously appointed – and paced – medieval drama.

By Jessica Kiang

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The shadow of a certain massively popular fantasy television show looms large over Charlotte Sieling ‘s “Margrete: Queen of the North,” a glossy period drama that amounts to a what-if expansion on an incident from medieval Scandinavian history. And that’s not necessarily a bad thing — anyone missing their weekly dose of sumptuously recreated George R. R. Martin will have their itch lightly scratched by the courtly power-plays, passageway mutterings and spies-in-the-bedchamber aspects of Sieling’s well-upholstered film, even if dragons and ice zombies are notable by their absence.

However the “Game of Thrones” comparison also has its downside: Where the show excelled in keeping multiple plotlines running concurrently so even the simplest scene felt rife with subcutaneous intrigue, “Margrete” follows one storyline with dedicated, occasionally leaden fidelity, proceeding at a pace that might be appropriate in a 20-hour season of television, but that feels unusually indulgent in a feature film. The slower stretches — like the entire first hour — have a tendency to plod, which gives ample opportunity to feast your eyes on Søren Schwarzberg’s grandly gloomy production design and Manon Rasmussen’s superb, elaborate costuming, but also makes the story rather too easy to disengage from.

It doesn’t help that after a tantalizing glimpse of a body-strewn battlefield that teases a more action-packed narrative than is delivered, the film quickly settles into a more sedate rhythm, establishing the wise statesmanship of Queen Margrete (Trine Dyrholm). Through her adopted son King Erik (Morten Hee Andersen), she rules over the Kalmar Union of Norway, Sweden and Denmark — the creation of which was largely her doing — and is apparently liked and respected by all the various territories’ representatives, even while ancient internecine rivalries bubble not far below the surface. Her most vital ally is Bishop Peder (Søren Malling), who represents the church’s interests, and has committed manpower and resources to the creation of a Union army, which will defend the region from attacks believed to be in the offing by Germany.

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To further stabilize the new Union’s position in Europe, Margrete has negotiated the betrothal of Erik to Philippa, the 13-year-old daughter of the King of England. She arrives at court along with rakish diplomat Bourcier (Paul Blackthorn), who has been sent to negotiate the terms of the marriage. But that very same night, reports run rife through Margrete’s lavish welcome party that a man claiming to be Margrete’s son Oluf, thought to have died some 15 years prior, has suddenly shown up nearby and the Norwegian emissary has already recognized him, and not Erik, as the rightful King. Margete has the man (Jakob Oftebro) summoned and denounces him as a liar in front of the court. He is imprisoned, pending sentencing.

To this point the film has been admiring of Margrete to a slightly stodgy degree. Crusading, brilliant female leaders who never put a foot wrong — a few unsubstantiated rumors about a ruthless past notwithstanding — do not necessarily make the most complex or interesting of protagonists. But finally the film, which is never very comfortable with ambiguity, finds a higher gear, and Dyrholm gets to imbue her portrait of Margrete with some humanizing notes of doubt and uncertainty, when the storyline makes its biggest deviation from accepted history: Margrete has a change of heart and starts to believe the man is, in fact, her long-lost son (most sources suggest that the historical “False Oluf” was quickly and definitively unmasked as an imposter). This brings her into conflict with the callow Erik, who is fearful of being deposed in Oluf’s favor, and ultimately also with half the Union, as each of the nobles is forced to take sides.

Aside from the design departments, the craft MVP here is probably DP Rasmus Videbæk, whose magisterial camerawork makes the candlelit interiors feel as imposing as the sweeping landscapes, to the accompaniment of Jon Ekstrand’s elegant, classical score. But the very magnificence of the whole production, from its smorgasbord of Nordic acting talent to its self-conscious lionization of a remarkable woman wielding immense power within an otherwise suffocatingly male environment, also serves a more contemporary agenda. At one point, Margrete rescues a young woman, Astrid (Agnes Westerlund Rase) and pointedly reminds the pirate who captured her that rape is a hanging offense. It’s a sequence that, along with the portrayal of the dignified Queen, proudly locates a precursor to the region’s modern-day reputation for progressiveness in terms of gender equality and women’s rights, all the way back in the 14th century.

This all gives “Margrete: Queen of the North” just enough historical and political heft to justify the epic scope of the filmmaking, although its real dramatic heart is with a smaller, more modest tale: that of a grieving mother forced to make an impossible judgment of Solomon, which is grave and touching and, ironically, almost entirely fictional.

Reviewed online, Dec. 13, 2021. Running time: 121 MIN. (Original title: "Margrete den første")

• Production: (Denmark-Norway-Sweden-Poland-Czech Republic-Iceland) A Samuel Goldwyn Film release of a SF Films production in co-production with Filmkameratene A/S, Truenorth Prods., Sirena Film, Film i Väst. Producers: Birgitte Skov, Lars Bredo Rahbek.
• Crew: Director: Charlotte Sieling. Screenplay: Charlotte Sieling, Jesper Fink, Maya Ilsøe. Camera: Rasmus Videbæk. Editor: Sverrir Kristjánsson. Music: Jon Ekstrand.
• With: Trine Dyrholm, Søren Malling, Jakob Oftebro, Morten Hee Andersen, Paul Blackthorne, Agnes Westerlund Rase. (Danish, Swedish, Norwegian, English, German dialogue)

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Review: Trine Dyrholm reigns in a commanding performance as ‘Margrete: Queen of the North’

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There’s ample palace intrigue being stirred up in “Margrete: Queen of the North,” a lavish Danish historical drama serving as an effective reminder that “The Crown” didn’t corner the market on royal family secrets.

Inspired by actual events surrounding the reign of Queen Margrete I, the 14th century ruler with a gift for shrewdly strategized diplomacy, the international co-production, directed and co-written by Charlotte Sieling, cloaks its fascinating fact-based material in epic visuals that enhance rather than detract from the maneuvering at hand.

Margrete (masterfully portrayed by Trine Dyrholm ), who reigned from the late 1380s until her death in 1412, was known as a wise and just leader who pulled off what her male counterparts couldn’t — the establishment of a long-lasting peaceful alliance between Denmark, Norway and Sweden.

In a bid to shore up protection of the Nordic Union against threatening German hostility, Margrete has been brokering the marriage between her adopted son, King Erik (Morten Hee Andersen) and Philippa, daughter of English King Henry IV.

But the queen’s gambit is derailed with the arrival of a man ( Jakob Oftebro ) claiming to be her biological son, Olaf, believed to have died 15 years earlier.

Ultimately the question as to whether the individual is indeed her presumed-dead son or a pretender to the throne nicknamed False Olaf proves less consequential than the damage the public uncertainty has already done to erode Margrete’s once-iron-clad grip over her country in the eyes of the world.

Sieling maintains an equally firm handle on the potent material, but it’s the title performance by Dyrholm that makes it sizzle. A favorite of directors Thomas Vinterberg and Susanne Bier , Dyrholm invests Margrete with the measured stoicism of a Dame Judi Dench and the guarded compassion of a Meryl Streep, to compelling effect.

Throughout, both the character and the film constantly keep one guessing as to whether Margrete’s driving impulse leans more in the direction of the maternal or the Machiavellian.

‘Margrete: Queen of the North’

In English and Danish, French, German, Swedish and Norwegian with English subtitles Not rated Running time: 2 hours Playing: Starts Dec. 17, Laemmle Royal, West Los Angeles; also on VOD

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Margrete: Queen of the North Reviews

In addition to all the warranted praise Sieling will receive for epic storytelling, she deserves credit for bringing awareness and appreciation of Margrete’s reign to an international audience.

Full Review | Oct 31, 2023

Inspired by history but occasionally bogged down in the facts, attention to detail and weighty tone are enlivened by the central performance

Full Review | Original Score: 4/5 | Dec 9, 2022

Margrete Queen of the North is a superbly mounted drama set in a variety of Scandinavian countries at the end of the 14th century and the beginning of the 15th century.

Full Review | Original Score: 4/5 | Dec 3, 2022

It’s a big, dark, roiling cauldron of politics and emotion, and satisfying as all that -- even if a lot of it is speculation.

Full Review | Original Score: 4/5 | Nov 30, 2022

… plot-heavy, but many scenes are so well-played and the general atmosphere so broodingly authentic, that the film succeeds royally.

Full Review | Original Score: 16/20 | Nov 14, 2022

More than anything, the film rests on Dyrholm’s performance, and she does not disappoint.

Full Review | Original Score: 4.5/5 | Mar 14, 2022

While the plot is at times overstuffed with palace intrigues, this piercing character study carries a contemporary poignancy, as it encapsulates the difficult choices a female leader has to make in a world bounded by patriarchal control.

Full Review | Original Score: 3/5 | Mar 7, 2022

Margrete, Queen of the North draws on a distinctive kind of historical realism, a visual density that reflects a psychological and human depth that’s woefully missing in recent period films that depend (too frequently) on special effects.

Full Review | Feb 17, 2022

Full Review | Original Score: 3/4 | Jan 8, 2022

Checks off all the boxes for an engaging historical drama. Lacks strong supporting characters, but beautifully shot.

Full Review | Dec 30, 2021

A well-made, if occasionally plodding historical drama, is carried by the performance of Trine Dyrholm in what amounts to a 15th century Danish version of The Crown.

Full Review | Original Score: B | Dec 21, 2021

Offering a compelling glimpse into an obscure episode in Nordic lore, this handsomely mounted period drama argues that its titular royalty shouldn't be relegated to a historical footnote.

Full Review | Dec 17, 2021

A fanciful and fascinating rendering of a period in Scandinavian history led by a woman.

The multitalented Danish actor Trine Dyrholm is mesmerizing.

It lacks the kind of energy that might have helped make it truly come alive, and seem like more than a historical reenactment.

Full Review | Original Score: 2.5/4 | Dec 17, 2021

"Margrete: Queen of the North" [has] just enough historical and political heft to justify the epic scope of the filmmaking...

While a bit conventional in style, the film offers juicy court skullduggery that keeps widening and complicating until all northern Europe's stability is at stake.

Sieling maintains an equally firm handle on the potent material, but it's the title performance by Dyrholm that makes it sizzle.

Full Review | Dec 16, 2021

an impressive piece of period filmmaking

Full Review | Dec 15, 2021

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Eye For Film >> Movies >> Margrete - Queen Of The North (2021) Film Review

Margrete - queen of the north.

Reviewed by: Jennie Kermode

There’s a moment in Charlotte Sieling’s biopic of Denmark’s Queen Margaret the First when its heroine, played with customary aplomb by Trine Dyrholm, is challenged over her inability to tell whether or not a stranger who has arrived at her court is her long lost son, and responds by telling her male accuser that she doubts he could recognise any of the illegitimate children he has left scattered around Europe. Queen or not, it’s a bold move for a woman to slut shame a man on the cusp of the 15th Century, but it’s entirely consistent with what we know of the historical Margrete and it betokens a growing awareness of women as fully fledged people which was closely interwoven with Europe’s slow progression towards the Enlightenment.

It shows up elsewhere with Margrete. We see her take a female captive from her favourite pirate, reminding him that rape is illegal and suggesting that he find a sex worker to travel on his ship. The captive, of course, will be shaped into one of her instruments, because her strength comes from her understanding of the value of making friends. It was instrumental to the foundation of the Kalmar Union in 1397, forging peace between Denmark, Sweden and Norway and saving thousands of lives in the process. But this wasn’t, yet, an enlightened age. Although she was the one who commanded respect, Margrete was obliged to rule through a man. Initially this was her son Olaf, but when he died unexpectedly in 1387, she adopted her great nephew Bogislav, changing his name to the locally more palatable Erik, and placed him on the throne. it was an arrangement which worked remarkably well for everyone until that stranger arrived.

Historical records of the ‘false Olaf’ who staked his claim on the throne in 1402 do not generally take him very seriously. Despite having supposedly lived in Denmark for 16 years, he could not speak the language; the claim hinged simply on his appearance and on his potential usefulness to German agents keen to destabilise the Union so that they could invade. Might Margrete herself have doubted, though? Sieling’s film is built around this possibility, and it finds possible explanations for the flaws in the claim. Most importantly, it highlights the political turmoil caused by the claim and suggests that, whilst this might have motivated the emergence of a pretender, it would also explain the need for a cover-up if he was the real thing.

Real or not, one feels sympathy for the stranger, played here by Jakob Oftebro, as he is clearly a puppet caught between competing interests, throwing himself upon the mercy of a woman whose choices are inevitably constrained by political pressure. It’s this which forms the real core of the film. In its exploration of female power and personhood, it must take on a myth which still persists today: that a mother will always an inevitably put her child first. Whilst it’s something many of us might want to believe, it is also part of the framework which has been used to keep women from leadership roles for hundreds, if not thousands, of years. The contention here is that Margrete will not be capable of putting her country first despite her pledge to serve. Not only is she forced to walk through a political minefield, but she must reckon with foundational aspects of her own identity.

Although it certainly helps to have some familiarity with Scandinavian history going into this, if only to understand the wider context and some of the tangents which there is no time to explain, the film does a good job of establishing the basics as it sets up its narrative, without too much heavy exposition. Most of the key figures are all well developed and played, with Søren Malling, whom viewers may recognise from the original The Killing, particularly impressive. Morten Hee Andersen flounders a little as Erik. it’s a difficult role, because his floundering is really the point – he’s young, he’s caught in a difficult situation, and we need to see the weakness which makes Margrete fearful of him acquiring more power – but Andersen nevertheless fails to gel with the rest. It’s the sort of flaw one might not notice were it not that the rest of the film is so good.

The Czech Republic stands in for Denmark here, but there are not many outdoor scenes and inside, one Medieval castle can be made to look much like another. The costuming is very good, with the sort of attention to detail essential in giving a film like this credibility. More than anything, though, the film rests on Dyrholm’s performance, and she does not disappoint. It’s quite a thing to carry an audience – even a modern one – through some of what Margrete has to do, and it is her efforts which enable the story to make emotional as well as political sense. If you’re looking for a Medieval tale with swordfights, pirates, spies and seduction, you’ll still get something to make you happy, but this is Dyrholm’s film.

Director: Charlotte Sieling

Writer: Jesper Fink, Maya Ilsøe, Charlotte Sieling

Starring: Trine Dyrholm, Søren Malling, Morten Hee Andersen, Jakob Oftebro

Runtime: 120 minutes

Country: Denmark, Sweden, Norway, Iceland, Czech Republic, Poland

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Margrete: Queen of the North

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Trine Dyrholm (Margrete) Søren Malling (Peder) Morten Hee Andersen (Erik) Jakob Oftebro (Man from Graudenz) Bjørn Floberg (Asle Jonsson) Magnus Krepper (Johan Sparre) Thomas W. Gabrielsson (Jens Due) Agnes Rase (Astrid) Simon J. Berger (Jacob Nilsson) Linus James Nilsson (Roar)

Charlotte Sieling

1402. Queen Margrete is ruling Sweden, Norway and Denmark through her adopted son, Erik. But a conspiracy is in the making and Margrete finds herself in an impossible dilemma that could shatter her life's work: the Kalmar Union.

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Movie review / ‘Margrete; Queen of the North’

“Margrete: Queen of the North” (MA) *** and a half

IN the 14th century, no woman had the right to rule Denmark. While Margrete commanded respect, she was obliged to rule through a man. 

In 1387, when her son Olaf died unexpectedly, she adopted her German-born great nephew Bogislav, changed his name to the locally more palatable Erik, and placed him on the throne. This arrangement worked well for everyone until a stranger (Jakob Oftebro) arrived.

To strengthen her position and help stave off a potential German invasion, Margrete had arranged a marriage between Erik and England’s Princess Philippa (a mere child). 

On the eve of the wedding, as the dowry was being settled, an unnamed man arrived claiming to be the real King Olaf and therefore Denmark’s true ruler.

Loosely inspired by actual events, in 1397, Queen Margrete (Trine Dyrholm) had saved thousands of lives by establishing the peaceful Kalmar Union between Denmark, Norway, and Sweden. It’s a memorable performance as a ruler devoted to peace and who will go to any lengths to ensure that it endures (beyond her time, which it does!).

Filmed in the Czech Republic, writer (together with Maya Ilsoe and Jesper Fink) and director Charlotte Sieling’s production looks handsome. With one of the biggest budgets ever for a Danish-language film, an end title admits that no one knows what the true story is in the case of the “false Olaf”. 

But by its end, working up interest in all of its intrigues and betrayals proves a bit laborious without achieving the result for which its manifest intentions clearly hoped. This is regrettable – I reckon its 120 minutes are worth a look.

The film’s denouement is notable. The last person whom I recall seeing burned at the stake was played by Gerard Depardieu in the movie version of one of Maurice Druon’s “The Accursed Kings”. Must read them again. Meanwhile, this one’s a doozy.

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The true story behind the forthcoming film ‘Queen of the North’

Long, long, long before ‘Game of Thrones’, a matriarchal monarch reigned over the whole of Scandinavia. Never has there been a more worthy bearer of the title

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Last year, it was the heroics of Henrik Kauffmann, the Danish ambassador to the US during World War II and, in recent times, the stories of Lili Elbe (‘The Danish Girl’) and Johann Struensee (‘A Royal Affair’) – the world can’t get enough of Danish historical dramas right now!

Joining this rich tradition this year is ‘Margrete den første’, which SF Studios is planning to release during the third quarter of the year.

The film focuses on a point in the queen’s life when she stood to lose it all. Aged 50, she faced her biggest challenge in 1402 when the Kalmar Union to bring together the countries of Denmark, Sweden and Norway threatened to collapse.

Played by Trine Dyrholm With a budget of 8 million dollars kindly provided by Netflix, Charlotte Sieling has assembled a cast led by Trine Dyrholm, Denmark’s answer to Meryl Streep, which also includes Søren Malling (Torben in ‘Borgen’) and Magnus Krepper (‘Young Wallander’ himself).  

Before shooting began, Sieling said she was keen to tell “the true story of the strongest, most fascinating but also most under-exposed ruler that Scandinavia has ever seen”.

“There is no one to compare to Margrete, she was such a strategist. She gains power and she effectuates it in a different way than a man does,” continued Sieling 

“This woman is 50 years old. In this man’s world, she’s in power. And we have to bring her sexual life into that, and her motherhood. We need to explore this woman on many different levels. Margrete made this feminist legislation that any woman who had been assaulted during war could come and get money at her castle.”

Always out-manoeuvring In the turbulent times that reigned across late 14th century Scandinavia, Margrete I was the ruler who ultimately prevailed. Over her life she consistently out-manoeuvred her rivals, successfully uniting the regions of Denmark, Norway and Sweden, to leave a powerful legacy for her heirs.

She was the youngest of Valdemar IV of Denmark’s six children, and in 1359, at the age of six, her childhood was cruelly interrupted by the news she was engaged to be married to Håkon VI of Norway, the youngest son of the Swedish-Norwegian king, Magnus (IV or VII, depending on where you were), as part of a political alliance. 

Håkon was 13 years her senior and was used to rude awakenings himself – he had been named king of Norway by his father when he was just three.

Redrawing the borders Magnus wanted Valdemar’s help to deal with his second son, who had proclaimed himself ‘Erik XII of Sweden’ after taking control of Southern Sweden. And in return, Magnus would give Valdermar the strategically important Helsingborg Castle on the southern tip of Sweden.

Valdemar wasted no time and, shortly after the agreement, invaded Scania with a large army and gained control of the region. But then Erik unexpectedly died, and as far as Magnus was concerned, all bets were off. He dissolved the betrothal and all the other arrangements. 

But Valdemar liked the view from Scania – a region that had been mortgaged to Sweden back in 1332 following the bankruptcy of the Danish state under the reign of Valdemar’s father Christopher II – and continued conquering, starting with the south-eastern Swedish island of Gotland in the Baltic Sea.

In 1361, Valdemar conquered Visby, a German-dominated town in Gotland. This provocation was staunchly opposed by both Magnus and the Hanseatic League – a confederation of merchant guilds and their market towns that dominated trade in northern Europe – which signed a trade restriction against Denmark and resolved to take military action. Meanwhile, Magnus was in talks with Henry of Holstein to marry Håkon off to Henry’s sister Elisabeth – an alliance hotly disputed by the archbishop of Lund, who said it was a violation of church law.

But their resolve weakened. Magnus and the Hanseatic League discontinued a siege of Helsingborg, and Margrete and Håkon married in April 1363 in Copenhagen, producing an heir, Olaf, in 1370.

Moving with purpose Valdemar died in 1375 and was, after a vote by the Danehof (the equivalent of parliament), succeeded by Olaf, who also stood to inherit the Swedish crown after Margrete saw off the claims of her elder sister’s husband, Duke Henry of Mecklenburg, and their son.

Upon Valdemar’s death, Margrete became regent and immediately sought to expand. She bought the island of Gotland from its owners Albert of Mecklenburg and the Livonian Order, and also acquired most of Schleswig, which she eventually bequeathed as a hereditary fief under the Danish crown to Count Gerhard VI of Holstein-Rendsburg, the grandson of Gerhard III, on the condition he swore allegiance to Olaf.

When Håkon died in 1380, Olaf became king of Norway and Margrete ruled both kingdoms on his behalf and then, after Olaf unexpectedly died in 1388, as queen.

Sweden in her sights And Sweden was very much in her sights. Before Olaf’s death, she knew there was discontentment among the nobles with their king, Albert I, and that they wanted her to help them dethrone him. Her army duly invaded in 1389 and soon she was in control of the whole country. At the Dalaborg Castle conference, the Swedes complied with all of Margrete’s demands and elected her ‘sovereign lady and ruler’. Among them was a condition that stipulated the Swedes must accept any king she decided to crown.

Still keen to hold onto his crown, Albert returned with an army of mercenaries in February 1389, but he was defeated and imprisoned at Aasle near Falköping. He was shortly set free on the condition that if he paid a fine within three years, the Hanseatic League could hold onto Stockholm, which was then an independent German-populated city. But Albert failed to pay the stipulated amount and the Hanseatic League surrendered Stockholm.

Margrete, meanwhile looking to the future, adopted the grandchildren of Henry of Mecklenburg: Eric of Pomerania and his sister Catherine. And at a congress of the three Councils of the Realm in Kalmar, Eric was announced king of Denmark, Norway and Sweden on Trinity Sunday, 17 June 1397. Until he came of age, Margrete ruled as regent, and she remained de facto ruler until her death.

Reformist, philanthropic, wise But there was more to Margrete’s reign than claiming back lost Danish territory and uniting the kingdoms. She reformed the Danish currency by substituting silver coins for the old copper coins, and she was also a noted philanthropist who gave away much of her wealth to charity.

And she knew where to draw the line. A proposal in 1402 from King Henry IV of England for a double-wedding alliance (Eric to marry Henry’s daughter Philippa and Catherine to marry Prince Hal, later Henry V – Eric did eventually marry Philippa) to united the Nordic kingdoms with England, which would have drawn them into the Hundred Years’ War against France, was rejected.

Margrete died unexpectedly of plague on board her ship in Flensburg Harbour in October 1412. She bequeathed a property to Roskilde Cathedral in her will on the condition that it held a regular mass for her soul. This was eventually discontinued during the Reformation in 1536. However, a special bell is still rung twice a day in honour of the first lady ruler of Denmark.

And while Denmark eventually lost Sweden (finally in 1521) and Norway (1814), and the bloodline she established on the throne of Denmark ended with the death of Frederick VII in 1863, her name (albeit with an extra ‘h’) lives on in the current monarch – a fitting tribute to one of this country’s most astute and able rulers.

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Review: Margrete: Queen of the North is a serious and weighty film with impressive attention to detail

Margrete: Queen of the North (MA15+, 120 minutes)

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This political drama from Denmark is about an indomitable female leader prepared to make big sacrifices for her country. Strong women were few and far between, according to recorded history, and yet they do still pop up often enough to make you wonder how many more lie in waiting.

In this lavish and stately period drama based on events that took place in 15th century Denmark, Queen Margrete holds her own in a scheming court, keeping her country at peace and safe from attack by ruthless forces, outside and within.

At the centre of Margrete: Queen of the North stands the commanding figure of a Danish monarch who ran the country although she never ruled in her own right, but through her husband and then as regent her adopted son King Erik (Morten Hee Andersen). She is wonderfully played by Trine Dyrholm, as a formidable and dignified woman torn between her sense of duty and her capacity for love and compassion. An able negotiator, she has seen the establishment of a treaty between Denmark and its neighbours Sweden and Norway to maintain the peace. In 1402, when the events in the film are largely set, a Nordic Union had been in existence for five years.

What's more, young Erik is receiving his future bride, the young English princess, Philippa (Diana Martinova). She is still a child, but their marriage will bolster Denmark even further against the predations of the German states and members of the Hanseatic League.

At this critical moment, a stranger arrives at court who puts the entire edifice at risk. The arrival of a man claiming to be Olaf, the true King of Denmark, Margrete's long-lost son who was believed to have died 15 years earlier, is electric.

The Man from Graudenz as he was known, or False Olaf as he is known in the historical record, is played by charismatic Norwegian actor Jakob Oftebro, with a disturbing prosthetic scar down one side of his face. He makes quite the impression, ranting and railing that it is Margrete's adopted son, Erik of Pomerania, who is the pretender, not him.

But the case he makes isn't implausible. And a woman can always recognise her son, can't she? Margrete isn't sure, and her terrible dilemma is explored in the screenplay, a collaboration between director Charlotte Sieling, Jesper Fink and Maya Ilsoe. There are deep emotions stirring, but there is also the need to preserve her authority at all costs.

The Man is mocked for the mistakes he makes in Danish, his supposed native tongue, courtiers who one would expect to recognise him don't, and he is swiftly tossed into the dungeon for his treasonous claim. Then, conflicting facts emerge, the most telling of which is that the body of the dead Olaf was never seen and identified before it was buried.

One of Margrete's closest mentors is Peder Jensen Loderhat, a highly influential bishop in the royal court who is capable of chilling ruthlessness towards perceived threats to the status quo. He is played by Soren Malling who made an impression in Borgen as the TV news editor having a major impact behind the scenes on the political environment.

If you're wondering what reminded you of that terrific hit TV series about a female politician who becomes Danish prime minister, it may be Malling's rather compelling presence. On the other hand, it may be the way the series and this intriguing historical film both explore the challenges to women in power and their response to the machinations of their political opponents.

Margrete: Queen of the North is a grand, serious and weighty film. Perhaps a connection with current Danish royalty has created expectations that weigh rather heavily, however. Margrete I, who lived from 1353 to 1412, is a predecessor of the popular current queen of Denmark, Margrethe II, who has recently celebrated 50 years on the throne.

Inspired by real events but occasionally bogged down in the historical facts, the film has great attention to period detail, and Dyrholm's wonderful interpretation breathes life into her character, her times, and her terrible dilemma.

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Margrete: Queen of the North – REVIEW

By MARTIN FABINYI  

Danish filmmaking has a rich pedigree, from the work of Ole Olsen , who founded the first Danish film-making company,  Nordisk Films Kompagni in 1906, to Lars Von Trier dominating the late 90s and 21 st century with masterpieces including Breaking The Waves (1996), Dancing In The Dark (2000) and Melancholia (2011).

Whilst Von Trier has been the most prominent and controversial contemporary Danish director, other voices have recently been heard, with actor/director Charlotte Sieling’s transition from high-end television ( The Killing, Borgen, The Bridge ) to her third feature Margrete: Queen Of The North.

A sumptuous story of palace intrigue, the machinations of power and the complexities of family , Margrete: Queen Of The North is one of the largest productions in the history of Danish cinema, with the highest budget ever for a Danish-language feature film.

And the kroners are well and truly up on the screen. The film opens on the  gory 1361  Battle of Visby where Denmark and its neighbours fought with bloodthirsty passion before moving 40 years on to inside the lavish court of the queen who, behind the throne, would rule not only Denmark but also Norway and Sweden in a union that lasted over a century.

A fictionalised account of the ‘ False Oluf ‘, an impostor who in 1402 claimed to be the deceased King  Olaf II/Olav IV of Denmark-Norway, son of the title character  Margrete I of Denmark , the film pits mother against (her presumed) son and her adopted son and now king Erik of Pomerania ,

Margrete: Queen Of The North is a tense thriller where the corruption of absolute power is set against the age-old story of the to-death struggles of family. Trine Dyrholm  plays the titular role as a complicated mother still grieving her lost son, and willing to believe that (imposter – or is he?) Oluf is the son returned to her after fifteen years presumed dead.

Søren Malling, well-known to English-speaking audiences for his roles in Danish-noir television including Borgen, plays with restraint the odious Bishop Peder willing to put to death anyone who would upset the delicate balance of peaceful Scandinavia, and Morten Hee Andersen plays Erik of Pomerania as the weak and insecure king.

The production of the film was entangled in the pandemic, with filming halted in March 2020, and fresh funding sourced from, among government incentives, the Queen Margrethe & Prince Henrik Foundation, creating a continuous line of royal patronage from the 14 th century to the 21 st .

Margrete: Queen Of The North is a gripping slice of medieval majesty set on an epic canvas drawn not just from the history of Denmark but all of Scandinavia. Not to be missed.

Opens November 24 through Palace Films

Www.palacefilms.com.au, you may also like.

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[Film review] Margrete — Queen of the North [Margrete den første]

Review by John P. Harvey .

The year is 1402.  It is 15 years since Denmark’s Queen Margrete (Trine Dyrholm) gave her heir, Oluf, a burial following his untimely death, and in the meantime she has a new heir by virtue of having adopted Erik (Morten Hee Andersen), now King Erik, when he was five years old.  Margrete, who knew continual warring while her father was king, made it her life’s mission as Queen to unite Sweden, Norway, and Denmark in a stable peace.  And, under Margrete’s Kalmar Union, the region has prospered through five years of peace — a peace that could be shattered by invasion with overwhelming force by Prussia.

In a few months’ time, King Erik will become betrothed to Princess Philippa of England, a union through which Queen Margrete intends to cement a military alliance that will protect both England and the Union from Prussia’s depredations.

But negotiations for the alliance are halted when a man (Jakob Oftebro) arrives from Graudenz, in enemy Prussia, claiming to be the long-dead Oluf, escaped from long imprisonment and ready to claim his throne.  Margrete is doubtful; Erik wants the man executed for treason.  And the English won’t negotiate the royal marriage while the royal lineage is in doubt.  Undoubtedly the man from Graudenz has arrived at the perfect time for Prussia to avert the military alliance.

But could the man from Graudenz be Oluf?  And, if he is, what can Margrete do to save the Union?

Director (and co-writer) Charlotte Sieling’s first feature film since The Man [ Mesteren ] (ScFF 2017), Margrete — Queen of the North builds intricately upon a real-life mystery, one that destruction of court documents ensured would remain unresolved.  And the story builds a credible hypothesis as to what may have occurred over the few days of this tectonic drama as truth and pragmatism, history and security, and lies and spies battle for dominance, the entire region’s welfare hingeing on the outcome of a battle for royal legitimacy.  Margrete — Queen of the North combines nice swordplay, great scenery, and fabulous acting in a beautifully filmed, gripping human drama that you won’t forget in a hurry.

Screening at Palace cinemas.

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November 26, 2022

Movies | reviews, margrete – queen of the north movie review.

With a foreboding atmosphere and a dark and dangerous demeanour Margrete – Queen of the North is a very unglamorous look at Danish royalty. Set in the fifteenth century, Denmark’s Queen Margrete (Trine Dyrholm) succeeded in gathering Denmark, Sweden and Norway into a peaceful coexistence known as the Kalmar Union.

With unease just under the surface and enemies all around, Margrete will have to face one of her toughest challenges. A task that will redefine her sense of self and show the ultimate strength and love for her country she possesses. A strength that comes at the cost of her feelings of motherhood.

When watching a foreign film and recognising few if any of the actors, the ability to get lost in the story is enhanced. There isn’t the distraction of career-established personas to get in the way. Margrete – Queen of the North takes full advantage of this circumstance and draws you in completely. This was life without the false sense of pageantry that often accompanies tales of royalty.

As things play out, there is no spurious acceleration of events, it’s the underlying tension that attaches you to the ongoing storyline. You feel that people have their own agendas and it is up to you to decipher their true intentions. By the film’s end, many have had to pay a horrible price for a peace that lasted for centuries. Rob Hudson www.facebook.com/Palacecinema

• Jakob Oftebro
• Margrete - Queen of the North
• Morten Hee Andersen
• Movie Review
• Paul Blackthorne
• Søren Malling
• Trine Dyrholm

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