If you go looking for a film called Empire of the North, you might get a little confused at first. That’s because in the United States, most people know it as Emperor of the North Pole. It’s a mouthful. It’s strange. But honestly, it’s one of the most brutal, uncompromising pieces of 1970s cinema ever made. Released in 1973 and directed by the legendary Robert Aldrich, this movie doesn't care about your feelings. It’s a story about the Great Depression, but it feels more like a war movie set on a moving train.
The film centers on a legendary "hobo" named A-No.-1, played by Lee Marvin. He’s a guy who has turned survival into an art form. On the other side, you have Shack, played by Ernest Borgnine. Shack is the conductor from hell. He’s a sadist. He hates "boes" with a passion that borders on the pathological, and he has a standing rule: nobody rides his train for free. If you try, he’ll likely kill you with a hammer or a heavy chain.
What makes the Empire of the North movie stand out even now?
Most Great Depression movies are about dust bowls and sad families. This isn't that. It’s a high-stakes, violent chess match between two men who have absolutely nothing to lose but their pride.
Robert Aldrich was the perfect director for this. If you’ve seen The Dirty Dozen, you know his style. He likes tough guys. He likes grit. In the Empire of the North movie, he captures a world that feels incredibly lived-in. The steam engines are loud, oily, and dangerous. You can almost smell the coal smoke and the sweat. It’s not a polished Hollywood version of the 1930s. It’s a dirty, hungry, and mean-spirited reality where the only thing that matters is who stays on the train and who gets thrown off under the wheels.
The dynamic between Marvin and Borgnine is electric. Lee Marvin plays A-No.-1 with a sort of weary dignity. He’s the king of the rails, not because he has money, but because he’s smarter than everyone else. Borgnine, meanwhile, is terrifying. He doesn't need a complex backstory to explain why he’s a monster; he just is. He views his train as his kingdom, and any hobo is an invader.
The brutal reality of the "Hopping" culture
Back then, "riding the rods" wasn't some romantic adventure. It was a life-and-death struggle. The movie highlights this through the character of Cigaret, played by a young Keith Carradine. Cigaret is cocky, loud, and frankly, kind of annoying. He represents the new generation that thinks they can just walk into this lifestyle without paying their dues.
A-No.-1 takes him under his wing, but it’s not a warm mentorship. It’s a "shut up and watch or you’re going to die" kind of relationship. The way the film portrays the physical toll of hopping a moving freight train is incredible. One slip and you’re gone. The stunts in this movie weren't done with CGI—they were real men hanging off real trains moving at 40 miles per hour. It gives the film a weight that modern action movies often lack.
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Why did they change the name from Emperor of the North Pole?
It’s a weird title, right? "Emperor of the North Pole."
In the lore of the Great Depression, the "North Pole" was a joke. It’s a place where there’s nothing. To be the Emperor of the North Pole meant you were the king of nothing. It was the ultimate title for the ultimate hobo. However, international distributors thought it sounded like a Christmas movie or some Arctic expedition. So, in various markets, it became the Empire of the North movie.
Marketing teams were worried people wouldn't show up for a movie about homeless guys on trains if the title was too metaphorical. They wanted something that sounded more like a grand epic. But the original title actually captures the spirit of the film much better. It’s about the hollow victory of being the best at a game that offers no real reward.
A-No.-1: A real-life inspiration?
A lot of people don't realize that Lee Marvin’s character was based on a real person. Leon Ray Livingston was a famous hobo who actually went by the moniker "A-No.-1." He even wrote books about his travels, including The Ways of the Hobo.
The movie takes some massive liberties, of course. The real Livingston was more of a traveler and writer, whereas Marvin’s version is a battle-hardened warrior of the tracks. But the DNA of the real-life hobo subculture is all over the screen. The slang, the markings left on fences to warn other travelers, and the strict (if unwritten) code of the rails are all pulled from history.
The climactic fight: A masterclass in tension
If you haven't seen the ending, brace yourself. It is one of the most visceral fights in cinema history. It takes place on a flatcar moving through the Oregon wilderness. There are no fancy martial arts here. It’s just two older men swinging heavy tools, chains, and planks of wood at each other.
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It feels personal.
By the time the final showdown happens in the Empire of the North movie, the audience is exhausted. You’ve watched Shack murder people. You’ve watched A-No.-1 survive things no human should survive. When they finally square off, it’s not about justice. It’s about who is the bigger "Emperor."
The cinematography by Joseph F. Biroc is stunning here. He uses the movement of the train to create a sense of vertigo. You feel the wind. You feel the vibration of the tracks. It’s an immersive experience that puts most modern green-screen fights to shame.
Understanding the 1970s context
To really "get" this movie, you have to understand when it was made. The early 70s were a cynical time in America. The Vietnam War was winding down, and the counter-culture movement was shifting into something darker.
Audiences were looking for anti-heroes.
A-No.-1 isn't a "good" guy in the traditional sense. He’s selfish. He’s manipulative. But compared to the authoritarian brutality of Shack, he’s the guy you root for. This reflected a general distrust of "the system" at the time. Shack is the ultimate company man—he works for the railroad and enforces its rules with a bloodlust that the company probably wouldn't officially condone but certainly benefits from.
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Why you should track it down today
Movies like the Empire of the North movie don't really get made anymore. Studios are too worried about "likability" and "broad appeal." This film is prickly. It’s mean. It’s loud.
But it’s also incredibly honest about the human spirit.
It’s about the refusal to be crushed by a system that doesn't want you to exist. Whether you call it Emperor of the North Pole or Empire of the North, the message is the same: even if you’re the king of nothing, you’re still a king if you refuse to let the "Shacks" of the world break you.
Honestly, if you’re a fan of Westerns or survival thrillers, this is essential viewing. It’s a Western on tracks. Instead of horses, you have iron horses. Instead of a showdown at high noon in the street, you have a showdown on a lumber car.
Actionable insights for film fans
- Watch the original cut: Try to find a version that preserves the original aspect ratio. The wide shots of the Oregon landscape are essential to the feeling of isolation.
- Research Leon Ray Livingston: If the "hobo code" interests you, look up the real A-No.-1. His actual drawings and books provide a fascinating look at a forgotten side of American history.
- Look for Robert Aldrich’s other work: If you enjoy the grit here, check out Attack! or The Flight of the Phoenix (the 1965 version). He was a master of the "men on a mission" genre.
- Pay attention to the sound design: Listen to how the train changes sound depending on the terrain. It’s a character in its own right, and the audio work for 1973 was quite advanced.
- Check out the score: Frank De Vol’s music, including the theme song "A Man and a Train" sung by Marty Robbins, sets a surprisingly melancholic tone that contrasts perfectly with the onscreen violence.
The film serves as a reminder that some of the best stories aren't about winning big; they're about surviving the ride. Find a copy, turn up the volume, and watch two of the greatest character actors of all time tear each other apart.