Gods’ Wrath by Jennie Kermode artwork
There are certain conversations that linger long after the last glass is cleared. Some of the most fascinating cinematic discussions are those that happen over drinks, peeling back the layers of mythology and mischief that underpin great storytelling.
Years before Robin Hardy’s passing, a chance encounter with the director allowed for just such a chat. Over drinks, they delved into what Hardy described as the third chapter of his famous trilogy. The setting, as Hardy made clear, was Iceland—a land where, as we all know, the gods supposedly still live amongst the landscape.
While the setting provided the mythical backdrop, Hardy seemed most enthusiastic about the face of the story: the blonde he had cast in the leading role. It was this focus on the human element, set against the backdrop of the divine, that immediately drew the attention.
Though the full details of the plot remained somewhat elusive, the core mystery surfaced quickly. The narrative revolved around an old idea: Hardy’s sons, Justin and Dominic, discovered something significant amongst his belongings. This ancient premise, when revisited, offered a fresh perspective.
However, this new telling was not a simple reiteration of the originals. By altering the circumstances, the filmmakers managed to shift the focus. The mystery still held its power, but it lost some of the playful edge that defined the earlier installments.
The resulting tale is undeniably a different kind of story. It stepped away from the established spirit of Hardy’s installments, trading some of the familiar mischief for something altogether more nuanced. It proved that even the most myth-laden stories can be reshaped, finding new resonance in unexpected directions.
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