Film by Robert Zemeckis
Beowulf
|
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![](//upload.wikimedia.org/wikipedia/en/thumb/5/54/Beowulf_%282007_film%29.png/220px-Beowulf_%282007_film%29.png) Theatrical release poster
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Directed by
| Robert Zemeckis
|
---|
Screenplay by
| |
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Based on
| Beowulf
by
Anonymous
|
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Produced by
| |
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Starring
| |
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Cinematography
| Robert Presley
|
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Edited by
| Jeremiah O'Driscoll
|
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Music by
| Alan Silvestri
|
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Production
companies
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---|
Distributed by
| |
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Release dates
|
- November 5, 2007
(
2007-11-05
)
(
Westwood
)
- November 16, 2007
(
2007-11-16
)
(United States)
|
---|
Running time
| 114 minutes
|
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Country
| United States
|
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Language
| English
|
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Budget
| $150 million
[1]
|
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Box office
| $196.4 million
[1]
|
---|
Beowulf
is a 2007 American
adult animated
fantasy
action film
produced and directed by
Robert Zemeckis
from a screenplay by
Neil Gaiman
and
Roger Avary
. It is based on the Old English epic poem
Beowulf
, and featuring the voices of
Ray Winstone
,
Anthony Hopkins
,
Robin Wright Penn
,
Brendan Gleeson
,
John Malkovich
,
Crispin Glover
,
Alison Lohman
, and
Angelina Jolie
. Its plot depicts the rise and fall of the warrior
Beowulf
after he travels to
Denmark
to kill a monster. It was produced by
Shangri-La Entertainment
and Zemeckis's
ImageMovers
and features characters animated using
motion-capture
animation, which was previously used in
The Polar Express
(2004) and
Monster House
(2006).
Beowulf
premiered at
Westwood, Los Angeles
on November 5, 2007 and was released theatrically in the United States on November 16, 2007 by
Paramount Pictures
, with
Warner Bros. Pictures
handling international distribution. It received moderately positive reviews from critics, who complimented the CGI visual-effects, performance-capture, and voice acting, while criticizing aspects of the interpretation of the poem. The film
underperformed at the box office
, having earned only $196.4 million on a $150 million production budget (not including marketing costs).
Plot
[
edit
]
In 507, the legendary
Geatish
warrior
Beowulf
travels to
Denmark
with his band of soldiers including his best friend
Wiglaf
to help King
Hrothgar
, who needs a hero to slay
Grendel
, a hideously malformed troll-like creature with insuperable strength and cunning who attacked and killed many of Hrothgar's warriors during a celebration in the
mead hall
Heorot
. Upon arriving, Beowulf becomes attracted to Hrothgar's wife Queen
Wealtheow
.
The men celebrate in Heorot to lure Grendel out while Beowulf strips
naked
and relaxes before Grendel arrives to ensure a fair and equal fight. During the fight, Beowulf discovers that Grendel has
hypersensitive hearing
and ruptures the creature's eardrum. Grendel shrinks in size and manages to escape only after Beowulf severs his arm, mortally wounding him. In thanks for freeing his kingdom from the monster, Hrothgar gives Beowulf his golden drinking horn, which commemorates Hrothgar's victory over the mighty dragon
Fafnir
.
In his cave,
Grendel's mother
swears revenge over his corpse. She travels to Heorot and slaughters Beowulf's men in the night. Hrothgar tells both Beowulf and Wiglaf that Grendel's mother is the last of the
Water Demons
. Hrothgar's adviser,
Unferth
, offers Beowulf his sword
Hrunting
to slay Grendel's mother. Beowulf and Wiglaf then travel to the demon's cave, where Beowulf enters alone and encounters the demon, who takes the form of a beautiful, gold-covered naked woman. He tries to kill her with Hrunting but fails due to her magic. Instead, she seduces him with promises to make him king in exchange for the drinking horn and a son to replace Grendel, which Beowulf agrees to when they both kiss. Afterwards, Beowulf returns to Heorot with Grendel's head and announces he has killed Grendel's mother. He recounts embellished stories of a fight, claiming he left the sword impaled in the body of Grendel's mother and lost the golden drinking horn in the battle.
Hrothgar speaks to Beowulf privately, and asks if he truly killed Grendel's mother. Despite Beowulf's boasting and calling Grendel's mother a
hag
, Hrothgar is not fooled. Hrothgar says all that matters is that Grendel is dead and the curse of Grendel's mother is no longer his to bear. He indirectly reveals that he had also been seduced by the demon, and Grendel was the result of their tryst. Beowulf is shocked upon realizing Hrothgar is Grendel's father and that the curse has now been passed on to him after his affair with the demon. Hrothgar declares Beowulf to be king upon his death and he commits suicide by jumping from the castle parapet onto the beach below. Grendel's mother appears as a gold light in the surf and drags Hrothgar's corpse into the sea as the crowd kneels to the newly crowned King Beowulf, fulfilling their bargain.
Fifty years later, the elderly Beowulf is the estranged husband of Wealtheow, who has converted to Christianity. Beowulf has a mistress, Ursula, but his tryst with Grendel's mother has left him sterile to both his wife and mistress. On the anniversary of Beowulf's victory against Grendel, Unferth returns the golden drinking horn, which his slave had found on the moors. That night, a nearby village is destroyed by a
dragon
, which then transforms into a golden figure, who orders Unferth to give a message to King Beowulf, the dragon's father: the sins of the father have returned to him (referencing the
Faustian bargain
curse cycle of Grendel's mother that he agreed to). Afterwards, Beowulf privately confesses to Wealtheow about his affair with Grendel's mother and they reconcile.
Beowulf and Wiglaf go to the cave once again, and Beowulf enters alone. When Grendel's mother appears, Beowulf throws her the golden horn, but she refuses it and the dragon attacks Beowulf's castle, threatening Wealtheow and Ursula. Despite his age, Beowulf goes to great lengths to stop the dragon and break the curse. Beowulf is mortally wounded in the struggle, but manages to kill the dragon by ripping its heart out, and he and the creature tumble to the rocky beach below the castle. The dragon transforms into its golden humanoid form, before being washed out to sea. Before he dies, Beowulf tries to tell Wiglaf the truth about his affair with Grendel's mother and acknowledge his son, but Wiglaf insists on keeping his legacy intact.
As the new king, Wiglaf gives Beowulf a
Norse funeral
. Wiglaf finds the golden horn in the sand and sees Grendel's mother give Beowulf a final kiss as his burning ship sinks into the sea. Grendel's mother slowly rises to the water's surface and seductively beckons Wiglaf towards her. He wades into the sea, while holding the golden drinking horn, before pausing halfway in the surf. They both stare at each other, with Grendel's mother seductively waiting and Wiglaf clearly tempted but showing resistance.
Cast
[
edit
]
- Ray Winstone
as
Beowulf
, the
title character
. Zemeckis cast Winstone after seeing his performance as the
title character
of the 2003
ITV
serial
Henry VIII
.
[2]
On the topic of the original poem, Winstone commented during an interview, "I had the beauty of not reading the book, which I understand portrays Beowulf as a very one-dimensional kind of character; a hero and a warrior and that was it. I didn't have any of that baggage to bring with me."
[3]
Winstone enjoyed working with motion-capture, stating that "You were allowed to go, like theater, where you carry a scene on and you become engrossed within the scene. I loved the speed of it. There was no time to sit around. You actually cracked on with a scene and your energy levels were kept up. There was no time to actually sit around and lose your concentration. So, for me, I actually really, really enjoyed this experience." Unlike some of his castmates, Winstone's animated counterpart bears little resemblance to the actor who was in his early 50s when he filmed the role; Winstone noted that his computer-generated counterpart resembled himself at the age of eighteen, although the filmmakers did not have a photo for reference.
[4]
Winstone also played a dwarf performer, and the "Golden Man"/Dragon.
[3]
- Crispin Glover
and
Angelina Jolie
as
Grendel
and
his mother
, the antagonists. Glover had previously worked with Zemeckis in
Back to the Future
when he portrayed
George McFly
. Zemeckis had found Glover tiresome on set, because of his lack of understanding of shooting a film, but realized this would not be a problem as on a
motion-capture
film he could choose his angles later.
[5]
Glover's dialogue was entirely in
Old English
.
[4]
Jolie had wanted to work with Zemeckis, and had read the poem years before but could not remember it well until she read the script and was able to recall basic themes. The actress recounted her first impression of her character's appearance by saying "... I was told I was going to be a lizard. Then I was brought into a room with Bob, and a bunch of pictures and examples, and he showed me this picture of a woman half painted gold, and then a lizard. And, I've got kids and I thought 'That's great. That's so bizarre. I'm going to be this crazy reptilian person and creature.'" Jolie filmed her role over two days when she was three months pregnant. She was startled by the character's nude human form, stating that for an animated film "I was really surprised that I felt that exposed."
[4]
- Anthony Hopkins
as
King Hrothgar
. Hopkins noted in an interview that since Zemeckis is an American, he was not certain what accent Hopkins should use for the role of Hrothgar. Hopkins told him, "Well,
Welsh
would be my closest because that's where I come from." It was also his first time working with motion-capture technology. Hopkins noted, "I didn't know what was expected. It was explained to me, I'm not stupid, but I still don't get the idea of how it works. I have no idea [...] you don't have sets, so it is like being in a
Brecht
play, you know, with just bare bones and you have nothing else." When asked if he had to read the original poem of
Beowulf
in school, Hopkins replied: "No, I was hopeless at school. I couldn't read anything. I mean I could read, but I was so inattentive. I was one of those poor kids, you know, who was just very slow, didn't know what they were talking about... So I tried to get around to reading
Beowulf
just before I did this movie, and it was a good modern translation. It was
Trevor Griffiths
, I'm not sure, but I couldn't hack it, and I tend to like to just go with the script if it's a good script."
[6]
- John Malkovich
as
Unferth
. Malkovich became involved in the project because one of his friends, who had worked with Zemeckis, "spoke very highly of him. I had always found him a very interesting and innovative filmmaker. I liked the script very much and I liked the group involved and the process interested me a great deal also." He found the experience of working with motion capture to be similar to his experiences working in the theater. He also found the process intriguing: "Say you do a normal day of filmmaking. Sometimes that's 1/8 of a page, sometimes it's 3/8th of a page, normally let's say it's 2½ pages, maybe 3. Now it's probably a little more than it used to be but not always. So you may be acting for a total of 20 minutes a day. In this, you act the entire day all the time except for the tiny amount of time it takes them to sort of coordinate the computer information, let's say, and make sure that the computers are reading the data and that you're transmitting the data. It interests me on that level because I'm a professional actor so I'd just as soon act as sit around." Malkovich also recalled that he studied the original poem in high school, and that "I think we got smacked if we couldn't recite a certain number of stanzas. It was in the Old English class and I think my rendition was exemplary."
[7]
- Brendan Gleeson
as
Wiglaf
, Beowulf's
lieutenant
- Robin Wright Penn
as
Queen Wealtheow
- Alison Lohman
as Ursula, Beowulf's concubine when he is an old king
- Costas Mandylor
as Hondshew
- Sebastian Roche
as Wulfgar
- Greg Ellis
as
Garmund
- Tyler Steelman as Young Cain, Unferth's disabled slave
- Dominic Keating
as Adult Cain
- Rik Young
as
Eofor
- Charlotte Salt
as Estrith
- Leslie Harter Zemeckis as
Yrsa
- Fredrik Hiller as
Finn of Frisia
Production
[
edit
]
Development
[
edit
]
Author
Neil Gaiman
and screenwriter
Roger Avary
wrote a screen adaptation of
Beowulf
in May 1997 (they had met while working on a film adaptation of Gaiman's
The Sandman
in 1996 before
Warner Bros.
canceled it).
[2]
[8]
The script had been optioned by
ImageMovers
in the same year and set up at
DreamWorks
with Avary slated to direct and
Robert Zemeckis
producing. Avary stated he wanted to make a small-scale, gritty film with a budget of US$15?20 million, similar to
Jabberwocky
or
Excalibur
.
[2]
The project eventually went into
turnaround
after the option expired, to which the rights returned to Avary, who went on to direct
an adaptation
of
The Rules of Attraction
. In January 2005, producer
Steve Bing
, at the behest of Zemeckis who was wanting to direct the film himself, revived the production by convincing Avary that Zemeckis' vision, supported by the strength of
digitally enhanced live action
, was worth relinquishing the directorial reins.
[9]
[10]
Zemeckis did not like the poem, but enjoyed reading the screenplay. Because of the expanded budget, Zemeckis told the screenwriters to rewrite their script, because "there is nothing that you could write that would cost me more than a million dollars per minute to film. Go wild!" In particular, the entire fight with the dragon was rewritten from a talky confrontation to a battle spanning the cliffs and the sea.
[2]
Animation and visual effects
[
edit
]
Zemeckis drew inspiration for the visual-effects of
Beowulf
from experience with
The Polar Express
, which uses
motion-capture
technology to create
three-dimensional
CGI images of characters.
[11]
Appointing Jerome Chen, whom Zemeckis worked with on
The Polar Express
, the two decided to chart realism as their foremost goal.
Animation supervisor Kenn MacDonald explained that Zemeckis used motion capture because "Even though it feels like live-action, there were a lot of shots where Bob cut loose. Amazing shots. Impossible with live-action actors. This method of filmmaking gives him freedom and complete control. He doesn't have to worry about lighting. The actors don't have to hit marks. They don't have to know where the camera is. It's pure performance." A 25 × 35-foot stage was built, and it used 244 Vicon MX40 cameras. Actors on set wore seventy eight body markers. The cameras recorded real-time footage of the performances, shots which Zemeckis reviewed. The director then used a virtual-camera to choose camera angles from the footage which was edited together. Two teams of animators worked on the film, with one group working on replicating the facial performances, the other working on body movement. The animators said they worked very closely on replicating the human characters, but the character of
Grendel
had to be almost reworked, because he is a monster, not human.
[12]
Over 450 graphic designers were chosen for the project, the largest team ever assembled for a
Sony Pictures Imageworks
-produced movie as of 2007.
[11]
Designers at Imageworks generated new animation tools for facial, body and cloth design especially for the movie, and elements of
keyframe animation
were incorporated into the film in order to capture the facial expressions of the actors and actresses.
[11]
The mead hall battle scene near the beginning of the film, among others, required numerous props that served as additional markers; these markers allowed for a more accurate manifestation of a battlefield setting as the battle progressed.
[11]
However, the data being collected by the markers slowed down the studios' computer equipment and five months were spent developing a new save/load system that would increase the efficiency of the studios' resources.
[11]
To aid in the process of rendering the massive quantities of information, the development team used
cached
data. In the cases that using cached data was not possible, the scenes were rendered using foreground occlusion, which involves the blurring of different overlays of a single scene in an attempt to generate a single scene film.
[11]
Other elements of the film were borrowed from that of others created by Imageworks:
Spider-Man 3
lent the lighting techniques it used and the fluid engine present in the
Sandman
, while the waves of the ocean and the cave of Grendel's mother were modeled after the wave fluid engine used in
Surf's Up
. The 2007 film
Ghost Rider
lent
Beowulf
the fluid engine that was used to model the movements of protagonist
Johnny Blaze
.
[11]
Jerome Chen worked to process large crowd scenes as early as possible, as additional time would be needed to process these scenes in particular.
[11]
As a result, the film's development team designed a priority scale and incorporated it into their
processors
so graphic artists would be able to work with the scenes when they arrived.
[11]
So much data was produced in the course of the creation of the film, the studio was forced to upgrade all of its processors to multicore versions, which run quicker and more efficiently. The creation of additional rendering nodes throughout
Culver City, California
was necessitated by the movie's production.
[11]
Mark Vulcano, who had previously worked on
VeggieTales
and
Monster House
, served as Senior Character Animator for the film.
In designing the dragon, production designer
Doug Chiang
wanted to create something unique in film. The designers looked at
bats
and
flying squirrels
for inspiration, and also designed its tail to allow underwater propulsion. As the beast is Beowulf's son with Grendel's mother, elements such as Winstone's eyes and cheekbone structure were incorporated into its look.
[13]
The three primary monsters in the film share a
golden color scheme
, because they are all related. Grendel has patches of gold skin, but because of his torment, he has shed much of his scales and exposed his internal workings. He still had to resemble
Crispin Glover
though: the animators decided to adapt Glover's own parted hairstyle to Grendel, albeit with bald patches.
[12]
Zemeckis insisted that the character Beowulf resemble
depictions of Jesus
, believing that a correlation could be made between Christ's face and a universally accepted appeal.
[14]
Zemeckis used
Alan Ritchson
for the physical model, facial image and movement for the title character of
Beowulf
.
[15]
Avary had the idea to make Beowulf fight Grendel naked as a reference to
Richard Corben
's comic book
Den
, while also taking inspiration from legendary
berserkers
, who purportedly fought in battles while naked.
[16]
Music
[
edit
]
The music for
Beowulf
was composed and conducted by
Alan Silvestri
. A soundtrack was released November 20, 2007.
[17]
Silvestri was largely responsible for the production of the soundtrack album, although actresses
Robin Wright Penn
and
Idina Menzel
performed several songs in the soundtrack's score.
Differences from the poem
[
edit
]
There are a lot of questions. For example, Grendel is described as half-man, half-demon. The mother is described as a water-demon. So who's Grendel's father? Grendel's always dragging men off alive to the cave. Why? Why is he never attacking Hrothgar? […] And if Hrothgar is Grendel's father, then what happens to Beowulf when he goes into that cave? Did he kill the monster? Did he kill Grendel's mother? Or did he make a pact with the demon? It was those kinds of questions that allowed us to explore deeper into the myth, and in a way that I don't think bastardizes the original myth; I think it actually is a deeper examination of it.
One objective Zemeckis, Gaiman and Avary shared was to expand on the original poem as it has been recorded.
Beowulf
is generally considered to be a
pagan
tale written down by
Christian
monks, which for Zemeckis and Avary represented the possibility that the original story had been tampered with in order to better fit Christian sensibilities.
[16]
[19]
They found this to be a reasonable explanation for critical elements to the story that are absent from the poem, such as the identity of Grendel's father, why he abstains from attacking Hrothgar, and the lack of proof that Grendel's mother had been slain.
[16]
In order to restore those points, they offered their own interpretation for motivations behind Grendel's behavior and for what happened in the cave of Grendel's mother, justifying it by arguing that Beowulf acts as an
unreliable narrator
in the portion of the poem in which he describes his battle with Grendel's mother.
[20]
Avary said their goal was "to remain truer to the letter of the epic but to read between the lines and find greater truths that had been explored before,"
[21]
while Gaiman commented, "the glory of
Beowulf
is that you are allowed to retell it" due to the presence of many other adaptations that offered their own take on it.
[16]
These choices also helped them to better connect the third act to the second of their screenplay, which is divided in the poem by a 50-year gap.
[18]
Some of the changes made by the film as noted by scholars include:
- The portrayal of Beowulf as a flawed man
- The portrayal of Hrothgar as a womanizing alcoholic
- The portrayal of Unferth as a Christian
- The portrayal of Grendel as a sickly-looking and child-like creature (somewhat similar to Tolkien's
Gollum
character), rather than a savage demon-monster
- Beowulf's funeral
- The portrayal of Grendel's mother as a beautiful seductress, more of a
succubus
rather, who bears Grendel as Hrothgar's child and the dragon as Beowulf's child (this is also the case in the plot of the
1999 film
Beowulf
, with the exception that the dragon is entirely absent there)
[19]
- The fact that Beowulf becomes ruler of Denmark instead of his native
Geatland
[22]
[23]
[24]
This is not the first time that the theme of a relationship between Beowulf and Grendel's mother was explored by Gaiman. In his 1998 collection of short stories,
Smoke and Mirrors
, the poem
Bay Wolf
is a retelling of Beowulf in a modern-day setting. In this story, Beowulf as the narrator is ambiguous about what happened between Grendel's mother and himself.
Themes
[
edit
]
Sigmund Freud
Drawing extensively on the theories of
Freud
,
[25]
[26]
[27]
Kristeva
,
[25]
[26]
[27]
Lacan
[26]
and
Jung
,
[27]
as well as
?i?ek
, many scholars have discussed the themes of the film.
[26]
In particular, the portrayal of Grendel and his kin appeals to multiple forms of sexual unease, among them the
castration anxiety
, the
monstrous feminine
and the challenging of traditional
gender roles
.
[16]
[25]
[26]
According to Nickolas Haydock, the film reflects the "American obsession with sex as the root of all evils," to the extent to compare Beowulf's and Hrothgar's portrayals to
Bill Clinton
and the
history of sexual misconduct
that caused his political decline.
[25]
Nadine Farghaly also argues the story makes the point that unbridled desire only causes ruin.
[27]
Grendel's mother is represented in the film as a castrating, monstrous female who threatens
masculinity
.
[25]
[26]
While Beowulf embodies
phallic
power through his physical strength, recurrent
nudity
and usage of a sword, all those prove useless against her, as she symbolically
emasculates
him by subsuming his phallus into the feminine power. This is metaphorized by Beowulf being seduced in her
womb
-like cave, where his sword strike magically fails at harming her body.
[25]
After copulating with Grendel's mother, both Hrothgar and Beowulf find themselves unable to maintain fulfilling
sexual relationships
with Wealtheow or other women, becoming aged, bitter and even feminized in their impotency.
[25]
[26]
In turn, Grendel's mother remains immortal and young, and through her offspring she proves capable to wield herself the robbed phallus. Grendel and the dragon act as extensions of her will, "mindless embodiments of feminine aggressiveness" who represent their fathers' emasculation and loss of
patriarchal
power.
[16]
[25]
[26]
Later Beowulf claims to have vanquished the mother, having supposedly rendered her dead with his sword in her cave, but the falsity of this only translates as a
wishful
, pretended triumph of the male over the female. His defeat to her, as well as his bargain for prestige and glory, transmits that male power "not only comes from the feminine, but remains eternally subject to it."
[16]
[19]
[26]
However, authors have noted that he ultimately breaks the
Oedipian triangle
caused by his destructive son, as he manages to kill the dragon and seemingly thwart the cycle at the cost of his life. This has been interpreted as a last exaltation of masculinity, electing to die in
self-sacrifice
rather than living in his impotent, feminized state.
[16]
[26]
[27]
He refers to himself as already "dead long time ago" in a previous scene.
[16]
[27]
The film still underline the irresistibility of female power, as even Wiglaf, who had been shown to be abstinent from
lust
in contrast to his partners, is hinted to be similarly seduced by Grendel's mother.
[16]
[19]
Julia Kristeva
The film contrasts those points to the original poem, using the "
postmodern
techniques of
metatextuality
and
deconstruction
".
[16]
Whereas in the poem the
heroic
values of ancient warrior culture is reaffirmed, in the film it is shown to be in decline, even explicitly failing along with Beowulf.
[19]
[28]
In the film, the character laments the old, heroic
pagan religion
is being replaced by
Christianity
, "leaving humankind with nothing but weeping
martyrs
, fear, and shame."
[21]
In the poem Beowulf slays Grendel's mother and defeats her challenge on gender roles, but her film version is victorious over him, also using seduction instead of strength, which updates the ways in which the story views female power.
[27]
[28]
The gold covering her skin and the
Faustian bargain
she offers embody similar modern views on the relationship between wealth and sex,
[16]
[26]
particularly societal compulsions to enjoy them at the fullest, "not prohibited but demanded, which becomes a postmodern variation of Freud's
death wish
".
[25]
However, the main difference from the poem is portraying Beowulf as a flawed hero destroyed by his own negative qualities,
[16]
[21]
like lust for power and unchecked male desire,
[19]
which raises questions about the morality underlying heroism.
[26]
Despite the superficial characterization of the Water Demons as
Others
,
[16]
the film blurs the line between heroes and monsters, as Grendel can talk, and the dragon's human form resembles Beowulf himself, representing his
repressed wishes
.
[26]
In turn, Beowulf and Hrothgar are rendered impotent just like Grendel, who lacks
genitalia
altogether, and then Beowulf ends up losing an arm like Grendel does.
[27]
[28]
At the end, although the men from the film pretend to be champions against demonkind, they are ultimately revealed to be only its very originators.
[27]
Release
[
edit
]
At
Comic-Con International
in July 2006, Gaiman said
Beowulf
would be released on November 22, 2007.
[29]
The following October,
Beowulf
was announced to be projected in
3D
in over 1,000 theaters for its release date in November 2007. The studios planned to use 3D projection technology that had been used by
Monster House
(another motion-captured animated film that Zemeckis was involved on, but only as an executive producer),
Chicken Little
and the 3D re-release of
The Nightmare Before Christmas
, but on a larger scale than previous films.
Beowulf
would additionally be released in 35 mm alongside the 3D projections.
[30]
Originally,
Columbia Pictures
(which also distributed
Monster House
) was set to distribute the film, but Steve Bing did not finalize a deal and instead arranged with
Paramount Pictures
for North American distribution and
Warner Bros.
for international distribution.
[31]
Beowulf
was also set to premiere at the 2007
Venice Film Festival
, but was not ready in time.
[32]
Instead, the film's world premiere was held in
Westwood, Los Angeles
on November 5, 2007.
[33]
Critics and even some of the actors expressed shock at the
British Board of Film Classification
rating of the film?12A?which allowed children under twelve in Britain to see the film if accompanied by their parents.
Angelina Jolie
called it "remarkable it has the rating it has", and said she wouldn't be taking her own children to see it.
[34]
In the United States, the
Motion Picture Association of America
gave the film a
PG-13 rating
for "intense sequences of violence including disturbing images, some sexual material and nudity".
Marketing
[
edit
]
To promote the film, a
novelization
of the film, written by
Caitlin R. Kiernan
, was published in September 2007.
[35]
This was followed by a four-issue comic book adaptation by
IDW Publishing
released every week in October 2007.
[36]
A
video game
based on the film entitled
Beowulf: The Game
was released on
Xbox 360
,
PlayStation 3
,
PC
and
PSP
formats.
[37]
The game was announced by
Ubisoft
on May 22, 2007, during its Ubidays event in
Paris
.
[38]
It was released on November 13, 2007, in the United States. The characters are voiced by the original actors who starred in the film.
[39]
On November 1, 2007,
Beowulf: The Game
was released for mobile phones. The side-scrolling action video game was developed by
Gameloft
.
[40]
Several cast members, including director
Robert Zemeckis
, gave interviews for the film
podcast
"Scene Unseen" in August 2007. This is noteworthy especially because it marks the only interview given by Zemeckis for the film.
Home media
[
edit
]
Beowulf
was released for
Region 1
on
DVD
February 26, 2008. A
director's cut
was also released as both a single-disc DVD and two-disc
HD-DVD
alongside the theatrical cut. The theatrical cut includes
A Hero's Journey: The Making of Beowulf
while the single disc director's cut features four more short features. The HD DVD contains eleven short features and six deleted scenes.
[41]
The director's cut was released on
Blu-ray Disc
in the United Kingdom on March 17, 2008, and in the United States on July 29, 2008.
[
citation needed
]
The Blu-ray edition includes a "picture-in-picture" option that allows one to view the film's actors performing their scenes on the soundstage, before animation was applied (a notable exception to this is Angelina Jolie, whose scenes are depicted using storyboards and rough animation rather than the unaltered footage from the set).
Reception
[
edit
]
Box office
[
edit
]
Beowulf
ranked #1 in the United States and Canada box office during its opening weekend date of November 18,
[42]
grossing $27.5 million in 3,153 theaters.
[43]
At the end of its theatrical run, the film had grossed an estimated domestic total of $82.3 million and a foreign box office total of $114.1 million for a worldwide gross of $196.4 million.
[44]
Critical response
[
edit
]
On the
review aggregator
website
Rotten Tomatoes
,
Beowulf
has received an approval rating of 71% based on 194 reviews, with an average score of 6.50/10. The website's consensus reads, "Featuring groundbreaking animation, stunning visuals, and a talented cast,
Beowulf
has in spades what more faithful book adaptations forget to bring: pure cinematic entertainment."
[45]
On
Metacritic
, the film has a
weighted average
score of 59 out of 100 based on 35 reviews, indicating "mixed or average reviews".
[46]
Audiences polled by
CinemaScore
gave the film an average grade of "B?" on an A+ to F scale.
[
citation needed
]
Giving
Beowulf
three out of four stars,
Roger Ebert
commented that the film is a
satire
of the original poem.
[47]
Time
magazine critic
Richard Corliss
described the film as one with "power and depth" and suggested that the "effects scenes look realer, more integrated into the visual fabric, because they meet the traced-over live-action elements halfway. It all suggests that this kind of a moviemaking is more than a stunt. By imagining the distant past so vividly, Zemeckis and his team prove that character capture has a future."
[48]
Corliss later named it the tenth-best film of 2007.
[49]
Rolling Stone
critic
Peter Travers
praised the motion capture used in the film and argued that "The eighth-century
Beowulf
, goosed into twenty-first century life by a screenplay from sci-fi guru Neil Gaiman and
Pulp Fiction
'
s Roger Avary, will have you jumping out of your skin and begging for more... I've never seen a 3-D movie pop with this kind of clarity and oomph. It's outrageously entertaining."
[50]
Tom Ambrose of
Empire
gave the film four out of five stars. He wrote that
Beowulf
is "the finest example to date of the capabilities of this new technique [...] Previously, 3D movies were blurry, migraine-inducing affairs.
Beowulf
is a huge step forward [...] Although his Cockney accent initially seems incongruous [...] Winstone's turn ultimately reveals a burgeoning humanity and poignant humility." Ambrose also argues that "the
creepy dead eyes thing
has been fixed."
[51]
Justin Chang of
Variety
thought that the screenwriters "have taken some intriguing liberties with the heroic narrative [... the] result is, at least, a much livelier piece of storytelling than the charmless
Polar Express
." He also stated that "Zemeckis prioritizes spectacle over human engagement, in his reliance on a medium that allows for enormous range and fluidity in its visual effects yet reduces his characters to 3-D automatons. While the technology has improved since 2004's
Polar Express
(particularly in the characters' more lifelike eyes), the actors still don't seem entirely there."
[52]
Kenneth Turan
of
NPR
criticized the film, writing: "It's been 50 years since Hollywood first started flirting with 3-D movies, and the special glasses required for viewing have gotten a whole lot more substantial. The stories being filmed are just as flimsy. Of course
Beowulf
does have a more impressive literary pedigree than, say,
Bwana Devil
. But you'd never know that by looking at the movie. Beowulf's story of a hero who slays monsters has become a fanboy fantasy that panders with demonic energy to the young male demographic."
[53]
Manohla Dargis
of
The New York Times
compared the poem with the film, stating that "If you don't remember this evil babe from the poem, it's because she's almost entirely the invention of the screenwriters Roger Avary and Neil Gaiman and the director Robert Zemeckis, who together have plumped her up in words, deeds and curves. These creative interventions aren't especially surprising given the source material and the nature of big-studio adaptations. There's plenty of action in
Beowulf
, but even its more vigorous bloodletting pales next to its rich language, exotic setting and mythic grandeur."
[54]
Academic response
[
edit
]
Scholars and authors criticized the changes made to the poem's story.
Southern Methodist University
's Director of Medieval Studies Bonnie Wheeler is "convinced that the new Robert Zemeckis movie treatment sacrifices the power of the original for a plot line that propels Beowulf into seduction by Angelina Jolie?the mother of the monster he has just slain. What man doesn't get involved with Angelina Jolie?' Wheeler asks. 'It's a great cop-out on a great poem.' ... 'For me, the sad thing is the movie returns to... a view of the horror of woman, the monstrous female who will kill off the male,' Wheeler says. 'It seems to me you could do so much better now. And the story of
Beowulf
is so much more powerful.'"
[55]
Other commentators pointed to the theories elucidated in John Grigsby's work
Beowulf and Grendel
, where Grendel's mother was linked with the ancient Germanic fertility goddess
Nerthus
.
[56]
However, there were also positive academic reviews. Philosophy professor
Stephen T. Asma
argued that "Zemeckis's more tender-minded film version suggests that the people who cast out Grendel are the real monsters. The monster, according to this charity paradigm, is just misunderstood rather than evil (similar to the version presented in
John Gardner
's novel
Grendel
). The blame for Grendel's violence is shifted to the humans, who sinned against him earlier and brought the vengeance upon themselves. The only real monsters, in this tradition, are pride and prejudice. In the film, Grendel is even visually altered after his injury to look like an innocent, albeit scaly, little child. In the original
Beowulf
, the monsters are outcasts because they're bad (just as
Cain
, their progenitor, was outcast because he killed his brother), but in the film
Beowulf
the monsters are bad because they're outcasts [...] Contrary to the original
Beowulf
, the new film wants us to understand and humanize our
monsters
."
[57]
See also
[
edit
]
References
[
edit
]
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a
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External links
[
edit
]
Beowulf
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Written and directed
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Written only
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Novels
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Short story
collections
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Picture books
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Short fiction
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Comic books and
graphic novels
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Screenplays and
adaptations
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Miscellaneous
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