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The 13th Warrior is a 1999 American historical fiction action film based on Michael Crichton’s 1976 novel Eaters of the Dead,[5] which is a loose adaptation of the tale of Beowulf combined with Ahmad ibn Fadlan’s historical account of the Volga Vikings.
It stars Antonio Banderas as Ahmad ibn Fadlan, as well as Diane Venora and Omar Sharif. It was directed by John McTiernan; Crichton directed some uncredited reshoots. The film was produced by McTiernan, Crichton, and Ned Dowd, with Andrew G. Vajna, James Biggam and Ethan Dubrow as executive producers.
Ahmad ibn Fadlan is a court poet of the Abbasid Caliph Al-Muqtadir of Baghdad until his amorous encounter with the wife of an influential noble gets him exiled as an “ambassador” to the Volga Bulgars. Traveling with his father’s old friend, Melchisidek, his caravan is saved from Tatar raiders by the appearance of Norsemen. He takes refuge at their settlement on the Volga River, and communications are established through Melchisidek and Herger, one of the Norsemen, who happens to speak Latin. From Herger, both learn that the celebration being held by the Norsemen is in fact the precursor to a funeral for their recently deceased king. Herger also introduces them to one of the king’s sons, Buliwyf. Ahmad and Melchisidek witness a fight in which Buliwyf kills his brother in self-defense, which establishes Buliwyf as heir apparent. That is followed by the funeral of the dead king, who is traditionally cremated on a Viking ship, set adrift with a female slave who offers to sacrifice herself and accompany him to Valhalla, the Norse afterlife (or “heaven”).
The next day, the young Prince Wulfgar enters the camp to request Buliwyf’s aid; his father, King Hrothgar, has asked for assistance, as his lands in the far north are under attack from an ancient evil so frightening that even the bravest warriors dare not name it. The “angel of death”, a vlva (wisewoman), says that the mission will be successful but only if thirteen warriors face this danger, and the thirteenth must not be a Norseman. Ahmad is automatically and unwillingly recruited.
Ahmad is initially treated indifferently by the Norsemen, but they mock his smaller Arabian horse. However, he earns a measure of respect by quickly learning their language as he starts mentally translating it into Arabic, demonstration of horsemanship, and his ability to write. Buliwyf, already himself a polyglot, asks Ahmad to teach him the Arabic script, which cements their mutual goodwill. Buliwyf sees Ahmad’s analytic ways as an asset to their quest.
Reaching Hrothgar’s kingdom, they confirm that their foe is indeed the ancient “Wendol”, fiends who come with the mist to kill and take human heads. While the group searches through a raided cabin, they find a Venus figurine, which is said to represent the “Mother of the Wendol”. On the first night, the warriors Hyglak and Ragnar die. After a string of clashes, Buliwyf’s band determine that the Wendol are human cannibals, who are clad to appear like bears, live like bears, and think of themselves as bears.
The warriors’ numbers dwindling, having also lost Skeld, Halga, Roneth, and Rethel, and their positions all but indefensible, they consult another vlva of the village. She tells them to track the Wendol to their lair and destroy their leaders, specifically the “Mother of the Wendol”, and their warlord, who wears “the horns of power”. Buliwyf and the remaining warriors infiltrate the Wendol caves and kill the Mother but not before Buliwyf is scratched deeply across the shoulder by a claw attached to her hand, dipped in poison.
Ahmad and the last of the Norse warriors escape the caves but without the injured Helfdane, who opts to stay behind and fight. They return to the village to prepare for a last stand. Buliwyf staggers outside before the battle and inspires the warriors with a Viking prayer for the honored dead who will enter Valhalla. Buliwyf succeeds in killing the Wendol warlord, defeats them, and succumbs to the poison.
Ahmad witnesses Buliwyf’s royal funeral alongside the four surviving members of the 13 (Herger, Weath, Edgtho, and Haltaf) before returning to his homeland, grateful to the Norsemen for helping him to “become a man and a useful servant of God”.
Originally titled Eaters of the Dead, production began in the summer of 1997, but the film went through several re-edits after test audiences had not reacted well to the initial cut. Crichton took over as director himself because of the poor test audience reception, causing the release date to be pushed back over a year. The film was recut, and a new ending along with a new score was added. Graeme Revell was replaced by Jerry Goldsmith as composer. The title was changed to The 13th Warrior.[9] McTiernan has since gone on record as defending the film, stating the finished product was not entirely different from what he shot along with stating that he had originally wanted to do the film with Michael Keaton in mind for the lead role.[10][11]
The 13th Warrior holds a 33% approval rating on Rotten Tomatoes based on 88 reviews. The consensus is: “Atmospheric, great sets and costumes, but thin plot.”[14] Metacritic, which uses a weighted average, assigned the film a score of 42 out of 100, based on 27 critics, indicating “mixed or average” reviews.[15]
The original soundtrack was composed by Graeme Revell and featured the Dead Can Dance singer Lisa Gerrard. The score was rejected by Michael Crichton and was replaced by one composed by Crichton’s usual collaborator, Jerry Goldsmith.[22]
In my previous post on The 13th Warrior (1999, dir. John McTernan, based on the Michael Crichton novel, Eaters of the Dead), I looked at its relationship to its source material. In this post, I want to explore the costuming and props, specially the clothing and armor the characters are wearing, because I think it highlights something extremely important about historical films.
Ahmed (Antonio Banderas) is dressed for much of the early part of the film in black robes of a style that are intended to communicate his Arab identity, with a head band of silver beads. Later, he is given what looks to be an early medieval chainmail hauberk, with a chainmail coif (a separate hood), iron spaulders on his shoulders, and leather gauntlets with iron plates sewn onto them.
At least two of the warriors use 13th century longbows rather than the short bows that were used in this period. And one of them seems to be using a late medieval poignard. And Herger periodically uses a halberd, a pole-axe from the 14th and 15th centuries.
The next morning, Ahmed witnesses the Norse morning hygiene routine. A bowl of water is passed around by a woman. The men take turns washing their hands and faces; they rinse their mouths and spit into the bowl, and one man blows his nose into it. Then it is offered to Ibn Fadlan, who pushes it away with concealed disgust. The point of the scene is again to emphasize that the Norse are not like Ibn Fadlan or us; they are crude and filthy.
When Ibn Fadlan gets roped into traveling with Buliwyf, though, he cannot initially communicate because he does not speak Norse and the others do not speak Arabic. But Ibn Fadlan is clever and observant, and he watches and listens closely, and while the Norse continuing speaking Norse, English words start slipping in, until eventually the Norse are speaking English to signify that Ibn Fadlan has learned Old Norse. In the key scene, he realizes that the Norse are making insulting jokes about his mother, and he begins to win their respect by confronting them. Later, Buliwyf demonstrates that he too has been paying attention, when he tries to write out the Muslim confession of faith after having seen Ibn Fadlan do it. While the speed with which Ibn Fadlan learns Norse is probably unrealistic, the fact that the movie confronts the language barrier and works it into the theme of the film instead of just ignoring it is impressive. It goes to show that when Hollywood wants to it can actually explore historical issues in an interesting way.
So why am I talking about Michael Crichton on a blog about crafts and language? Well, my dear friends, I am talking about them because of one particular scene in the film that has bothered me since I saw it. It is also the reason I finally decided to read the book this week, hoping to gain a better understanding as to why it happened the way that it did. I also have a huge interest in the relationships between books, film and language and how the former two portray the latter.
For the most part, I find this scene highly unlikely despite the fact that I know that this type of immersion is a practice that has frequently been used by the military. In France, for example, there is a region where one of the spoken languages is Breton, a Gaelic language. During the wars, when many young Breton-speaking men went to fight with their fellow Frenchmen (late-nineteenth, early twentieth-century), they were thrown into French-speaking environments and were forced to learn the language (their survival counted on it). Considering the situation, one would definitely learn a language quickly. The lingering question, however, is how fast and how well they actually learned it.
This is quite comparable to the situation Ahmed from Eaters of the Dead/The 13th Warrior was in, and being able to speak with those he was fighting with would have absolutely given him the incentive to learn the language. My only question is which reference points (words) he picked up on in order to begin understanding words and eventually sentences. What seems quite amazing (in the film) is that he is fluent the very first time he speaks. Thankfully, the book is more realistic.
My name is Shannon Kennedy and I’m the language lover, traveler, and foodie behind Eurolinguiste. I’m also the Head Coach of the Fluent in 3 Months Bootcamp, co-founder of Women in Language, and former Resident Polyglot at Drops. https://drive.google.com/file/d/1nI4TMuFrrk_oxJ_6B2LsOJH3xYtZNE-L/view
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Administered by the Seattle Art Museum, the annual Betty Bowen Award honors a Northwest artist for their original, exceptional, and compelling work. The winner is awarded an unrestricted cash prize of $20,000, and a selection of their works is shown at the Seattle Art Museum. In addition, up to two Special Recognition Awards in the amount of $4,000 and three Special Commendation Awards in the amount of $2,500 are often granted at the discretion of the Betty Bowen Committee.
The application will be available at callforentry.org. There is a $10 application fee. The Seattle Art Museum is committed to values of accessibility and financial assistance. If costs pose a barrier to entry, please contact us at bettybowen@seattleartmuseum.org
The winner is selected in a two-part jury process. In the first round, the applicants are reviewed anonymously. Six finalists are selected from the pool of applicants. Finalists are then invited to present their work to the committee in the second round and will receive an honorarium of $500 for related expenses. After this review process, the committee selects one award winner in addition to any special recognition award winners they wish to honor.
Samantha Yun Wall (b. 1977, Seoul) creates drawings that reflect her experience of navigating transcultural identity as a Black Korean immigrant. She draws inspiration from female archetypes described in global mythologies, folktales, and creation narratives, particularly non-normative female figures such as ghosts, monsters, healers, or storytellers. In her highly detailed, monochromatic images, she reveals how these figures are made alternately invisible or hyper-visible in their roles as social outcasts or even menaces. By deconstructing and reframing these vilified figures, Wall challenges patriarchal norms and stigmatization. https://drive.google.com/file/d/1G6qxm4nhY1emDv0NSrvselhXokvY_yTY/view
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The 13th Warrior is a 1999 American historical fiction action film based on Michael Crichton’s 1976 novel Eaters of the Dead,[5] which is a loose adaptation of the tale of Beowulf combined with Ahmad ibn Fadlan’s historical account of the Volga Vikings.
It stars Antonio Banderas as Ahmad ibn Fadlan, as well as Diane Venora and Omar Sharif. It was directed by John McTiernan; Crichton directed some uncredited reshoots. The film was produced by McTiernan, Crichton, and Ned Dowd, with Andrew G. Vajna, James Biggam and Ethan Dubrow as executive producers.
Ahmad ibn Fadlan is a court poet of the Abbasid Caliph Al-Muqtadir of Baghdad until his amorous encounter with the wife of an influential noble gets him exiled as an “ambassador” to the Volga Bulgars. Traveling with his father’s old friend, Melchisidek, his caravan is saved from Tatar raiders by the appearance of Norsemen. He takes refuge at their settlement on the Volga River, and communications are established through Melchisidek and Herger, one of the Norsemen, who happens to speak Latin. From Herger, both learn that the celebration being held by the Norsemen is in fact the precursor to a funeral for their recently deceased king. Herger also introduces them to one of the king’s sons, Buliwyf. Ahmad and Melchisidek witness a fight in which Buliwyf kills his brother in self-defense, which establishes Buliwyf as heir apparent. That is followed by the funeral of the dead king, who is traditionally cremated on a Viking ship, set adrift with a female slave who offers to sacrifice herself and accompany him to Valhalla, the Norse afterlife (or “heaven”).
The next day, the young Prince Wulfgar enters the camp to request Buliwyf’s aid; his father, King Hrothgar, has asked for assistance, as his lands in the far north are under attack from an ancient evil so frightening that even the bravest warriors dare not name it. The “angel of death”, a vlva (wisewoman), says that the mission will be successful but only if thirteen warriors face this danger, and the thirteenth must not be a Norseman. Ahmad is automatically and unwillingly recruited.
Ahmad is initially treated indifferently by the Norsemen, but they mock his smaller Arabian horse. However, he earns a measure of respect by quickly learning their language as he starts mentally translating it into Arabic, demonstration of horsemanship, and his ability to write. Buliwyf, already himself a polyglot, asks Ahmad to teach him the Arabic script, which cements their mutual goodwill. Buliwyf sees Ahmad’s analytic ways as an asset to their quest.
Reaching Hrothgar’s kingdom, they confirm that their foe is indeed the ancient “Wendol”, fiends who come with the mist to kill and take human heads. While the group searches through a raided cabin, they find a Venus figurine, which is said to represent the “Mother of the Wendol”. On the first night, the warriors Hyglak and Ragnar die. After a string of clashes, Buliwyf’s band determine that the Wendol are human cannibals, who are clad to appear like bears, live like bears, and think of themselves as bears.
The warriors’ numbers dwindling, having also lost Skeld, Halga, Roneth, and Rethel, and their positions all but indefensible, they consult another vlva of the village. She tells them to track the Wendol to their lair and destroy their leaders, specifically the “Mother of the Wendol”, and their warlord, who wears “the horns of power”. Buliwyf and the remaining warriors infiltrate the Wendol caves and kill the Mother but not before Buliwyf is scratched deeply across the shoulder by a claw attached to her hand, dipped in poison.
Ahmad and the last of the Norse warriors escape the caves but without the injured Helfdane, who opts to stay behind and fight. They return to the village to prepare for a last stand. Buliwyf staggers outside before the battle and inspires the warriors with a Viking prayer for the honored dead who will enter Valhalla. Buliwyf succeeds in killing the Wendol warlord, defeats them, and succumbs to the poison.
Ahmad witnesses Buliwyf’s royal funeral alongside the four surviving members of the 13 (Herger, Weath, Edgtho, and Haltaf) before returning to his homeland, grateful to the Norsemen for helping him to “become a man and a useful servant of God”.
Originally titled Eaters of the Dead, production began in the summer of 1997, but the film went through several re-edits after test audiences had not reacted well to the initial cut. Crichton took over as director himself because of the poor test audience reception, causing the release date to be pushed back over a year. The film was recut, and a new ending along with a new score was added. Graeme Revell was replaced by Jerry Goldsmith as composer. The title was changed to The 13th Warrior.[9] McTiernan has since gone on record as defending the film, stating the finished product was not entirely different from what he shot along with stating that he had originally wanted to do the film with Michael Keaton in mind for the lead role.[10][11]
The 13th Warrior holds a 33% approval rating on Rotten Tomatoes based on 88 reviews. The consensus is: “Atmospheric, great sets and costumes, but thin plot.”[14] Metacritic, which uses a weighted average, assigned the film a score of 42 out of 100, based on 27 critics, indicating “mixed or average” reviews.[15]
The original soundtrack was composed by Graeme Revell and featured the Dead Can Dance singer Lisa Gerrard. The score was rejected by Michael Crichton and was replaced by one composed by Crichton’s usual collaborator, Jerry Goldsmith.[22]
In my previous post on The 13th Warrior (1999, dir. John McTernan, based on the Michael Crichton novel, Eaters of the Dead), I looked at its relationship to its source material. In this post, I want to explore the costuming and props, specially the clothing and armor the characters are wearing, because I think it highlights something extremely important about historical films.
Ahmed (Antonio Banderas) is dressed for much of the early part of the film in black robes of a style that are intended to communicate his Arab identity, with a head band of silver beads. Later, he is given what looks to be an early medieval chainmail hauberk, with a chainmail coif (a separate hood), iron spaulders on his shoulders, and leather gauntlets with iron plates sewn onto them.
At least two of the warriors use 13th century longbows rather than the short bows that were used in this period. And one of them seems to be using a late medieval poignard. And Herger periodically uses a halberd, a pole-axe from the 14th and 15th centuries.
The next morning, Ahmed witnesses the Norse morning hygiene routine. A bowl of water is passed around by a woman. The men take turns washing their hands and faces; they rinse their mouths and spit into the bowl, and one man blows his nose into it. Then it is offered to Ibn Fadlan, who pushes it away with concealed disgust. The point of the scene is again to emphasize that the Norse are not like Ibn Fadlan or us; they are crude and filthy.
When Ibn Fadlan gets roped into traveling with Buliwyf, though, he cannot initially communicate because he does not speak Norse and the others do not speak Arabic. But Ibn Fadlan is clever and observant, and he watches and listens closely, and while the Norse continuing speaking Norse, English words start slipping in, until eventually the Norse are speaking English to signify that Ibn Fadlan has learned Old Norse. In the key scene, he realizes that the Norse are making insulting jokes about his mother, and he begins to win their respect by confronting them. Later, Buliwyf demonstrates that he too has been paying attention, when he tries to write out the Muslim confession of faith after having seen Ibn Fadlan do it. While the speed with which Ibn Fadlan learns Norse is probably unrealistic, the fact that the movie confronts the language barrier and works it into the theme of the film instead of just ignoring it is impressive. It goes to show that when Hollywood wants to it can actually explore historical issues in an interesting way.
So why am I talking about Michael Crichton on a blog about crafts and language? Well, my dear friends, I am talking about them because of one particular scene in the film that has bothered me since I saw it. It is also the reason I finally decided to read the book this week, hoping to gain a better understanding as to why it happened the way that it did. I also have a huge interest in the relationships between books, film and language and how the former two portray the latter.
For the most part, I find this scene highly unlikely despite the fact that I know that this type of immersion is a practice that has frequently been used by the military. In France, for example, there is a region where one of the spoken languages is Breton, a Gaelic language. During the wars, when many young Breton-speaking men went to fight with their fellow Frenchmen (late-nineteenth, early twentieth-century), they were thrown into French-speaking environments and were forced to learn the language (their survival counted on it). Considering the situation, one would definitely learn a language quickly. The lingering question, however, is how fast and how well they actually learned it.
This is quite comparable to the situation Ahmed from Eaters of the Dead/The 13th Warrior was in, and being able to speak with those he was fighting with would have absolutely given him the incentive to learn the language. My only question is which reference points (words) he picked up on in order to begin understanding words and eventually sentences. What seems quite amazing (in the film) is that he is fluent the very first time he speaks. Thankfully, the book is more realistic.
My name is Shannon Kennedy and I’m the language lover, traveler, and foodie behind Eurolinguiste. I’m also the Head Coach of the Fluent in 3 Months Bootcamp, co-founder of Women in Language, and former Resident Polyglot at Drops. https://drive.google.com/file/d/1nI4TMuFrrk_oxJ_6B2LsOJH3xYtZNE-L/view
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Administered by the Seattle Art Museum, the annual Betty Bowen Award honors a Northwest artist for their original, exceptional, and compelling work. The winner is awarded an unrestricted cash prize of $20,000, and a selection of their works is shown at the Seattle Art Museum. In addition, up to two Special Recognition Awards in the amount of $4,000 and three Special Commendation Awards in the amount of $2,500 are often granted at the discretion of the Betty Bowen Committee.
The application will be available at callforentry.org. There is a $10 application fee. The Seattle Art Museum is committed to values of accessibility and financial assistance. If costs pose a barrier to entry, please contact us at bettybowen@seattleartmuseum.org
The winner is selected in a two-part jury process. In the first round, the applicants are reviewed anonymously. Six finalists are selected from the pool of applicants. Finalists are then invited to present their work to the committee in the second round and will receive an honorarium of $500 for related expenses. After this review process, the committee selects one award winner in addition to any special recognition award winners they wish to honor.
Samantha Yun Wall (b. 1977, Seoul) creates drawings that reflect her experience of navigating transcultural identity as a Black Korean immigrant. She draws inspiration from female archetypes described in global mythologies, folktales, and creation narratives, particularly non-normative female figures such as ghosts, monsters, healers, or storytellers. In her highly detailed, monochromatic images, she reveals how these figures are made alternately invisible or hyper-visible in their roles as social outcasts or even menaces. By deconstructing and reframing these vilified figures, Wall challenges patriarchal norms and stigmatization. https://drive.google.com/file/d/1G6qxm4nhY1emDv0NSrvselhXokvY_yTY/view
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