Film Review: Beowulf (2007)
Robert Zemeckis has long been celebrated for his ability to blend popular storytelling with groundbreaking filmmaking technologies. Known for iconic films like Back to the Future and Who Framed Roger Rabbit, Zemeckis has consistently pushed the boundaries of animation and visual effects. One of his lesser-known yet ambitious projects is the 2007 animated fantasy epic Beowulf.
Beowulf is based on the eponymous Old English epic poem, often regarded as the first significant work in the history of English literature. Composed to preserve the mythic heritage of the North Germanic ancestors of the Anglo-Saxon English, this poem has inspired countless adaptations across various forms of art, literature, and film. While many adaptations have taken considerable liberties with the source material, the screenplay co-written by Neil Gaiman and Roger Avary strives to remain reasonably faithful to the original text, albeit with some notable reinterpretations.
Set in 6th-century Denmark, the plot follows King Hrothgar (played by Anthony Hopkins), whose mead hall, Heorot, is under siege by Grendel (voiced by Crispin Glover), a monstrous creature that terrorises his warriors. In response, Beowulf (played by Ray Winstone), a heroic warrior from Geatland, arrives to confront this menace. After successfully slaying Grendel, Beowulf faces a new challenge in Grendel’s mother (played by Angelina Jolie), who seeks vengeance for her son’s death. As the narrative unfolds, Beowulf discovers that the situation is far more complex than it initially appeared, with revelations suggesting that Grendel may actually be Hrothgar’s son.
Zemeckis’ rendition of Beowulf garnered attention not only for its hefty budget—reportedly around $150 million—but also for its pioneering use of computer animation and motion capture technology. This approach aimed to blur the lines between animated and live-action films, presenting characters that closely resemble their voice actors. Notably, Ray Winstone’s portrayal of Beowulf allowed him to embody a dashing and muscular hero—a stark contrast to his real-life appearance at fifty years old.
The film's substantial budget is evident in its stunning visuals and action sequences, particularly during climactic moments such as the dragon battle towards the end. These scenes are visually arresting and demonstrate Zemeckis' skill in creating immersive environments that draw viewers into this mythical world. However, despite these impressive technical achievements, the screenplay leaves much to be desired.
While Gaiman and Avary's script retains the essence of the ancient source material, it often feels burdened by attempts at cleverness and post-modern reinterpretation. The addition of melodramatic backstories for certain characters transforms Beowulf into a deeply flawed human being and an unreliable narrator.
Some creative choices appear overly ambitious or even pretentious, such as Beowulf's decision to confront Grendel while naked—a scene that aims for exoticism but instead veers into absurdity. This moment not only undermines the gravity of the confrontation but also highlights a level of hypocrisy within film rating systems. Despite its graphic violence and sexual themes, Beowulf received a PG-13 rating, suggesting that influential industry heavyweights like Zemeckis may enjoy leniency that strugling independent filmmakers could only dream of.
Despite these shortcomings—including an excessive runtime—the film remains more than merely watchable. Its technological innovations are noteworthy and may appeal more to audiences interested in visual spectacle than those seeking a compelling narrative. With numerous adaptations of Beowulf offering fresh perspectives on this ancient tale, viewers may find themselves longing for a version that prioritises storytelling over visual flair.
RATING: 5/10 (++)
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