beowulf_2007

Beowulf (2007)

U.S. Release Date: 11/16/07
Running Time: 1:55
Rated: PG-13 (Violence, nudity)

Cast: Ray Winstone, Anthony Hopkins, Robin Wright Penn, Angelina Jolie, John Malkovich, Brendan Gleeson, Crispin Glover, Alison Lohman

Director: Robert Zemeckis
Screenplay: Neil Gaiman and Roger Avary
Music: Alan Silvestri
Studio: Paramount Pictures

After amazing audiences with the actor-based CGI of The Polar Express, director Robert Zemeckis applies the same magic to the literary tale, Beowulf. While Zemeckis’ cinematic take on Beowulf is certainly not the first, it is – by all means – the grandest.

Coined the “future of filmmaking,” Zemeckis’ technique of directing live actors and animating over their every move is revolutionary. Alas, without a solid story, the animation would be unnecessary. Luckily, much like the childhood Christmas classic The Polar Express, Beowulf works on multiple levels. Appealing to the sensory, Beowulf is an action-packed, fantastical, romantic, and adventurous epic.

On word of a monster named Grendel (Crispin Glover) plaguing King Hrothgar’s (Anthony Hopkins) meat hall, a hero arrives in a Geat named Beowulf (Ray Winstone). With his sidekick Wiglaf (Brendan Gleeson) and band of men in toe, Beowulf sets out to slay the monster and free the village of its wrath.

However, even after Grendel is defeated, Grendel’s mother (Angelina Jolie) seeks revenge. Unwisely, Beowulf cuts a deal with Grendel’s mother—awarding him the kingdom and the Queen Wealthow (Robin Wright Penn). As expected, Beowulf’s decision to comprise with Grendel’s mother returns with deadly consequences.

Screenwriters Neil Gaiman and Roger Avary take extensive liberties with the original story that result in a pleasing, all-inclusive, and modern-day retelling of the classic tale. Gaiman and Avary cleverly encompass the three great battles from the text into one free-flowing plotline. Reminiscent of 300, Beowulf is not only an adrenaline-pumped derivative of a historical basis, but also a dynamic storyline jazzed up with dazzling visual effects and amplified action.

Be that as it may, while half of the production is comprised of awe-inspiring animation of characters and cinematography, the other half looks choppy and cheap. Faces like Hrothgar’s look and move just like Anthony Hopkins’, but those of Beowulf and his beauties’ for the most part mimic that of sock puppets. Even when Beowulf screams, “I am Beowulf,” his fleshy folds of facial tissue used for speech articulation look unnatural.

Separate from lip movements, the topics rolling off the characters’ lips are another story. One reoccurring subject matter is that of Christ Jesus. When the King says something to the like of, “Despite having Christ Jesus, we still need a hero,” Beowulf takes on an Anti-Christian tone. Of course, given the time period, the differentiating factors between savior and hero were not yet established. Furthermore, Beowulf features a burning cross and is centered on the theme of giving into temptation. On the other hand, any and all nudity is covered distinctively like Wilson’s mouth in an episode of “Home Improvement.”

All-in-all, Beowulf is doused in Zemeckis’ visual flair, pumped with testosterone, and overtly determined to sex-up Grendel’s mom. Besides these redeeming qualities, one really must wonder: minus the visuals, is Beowulf a less striking experience? While the experience may have been lessened in live-action, the overall adaptation on the literary inspiration is still solid. Let’s just thank Zemeckis for juicing-up the already tailored plot with his CGI protocol.

Be sure to behold Beowulf either on the big screen or the bigger screen in IMAX 3-D. It’s a film you won’t forget. Oh yeah, and one more thing: resist the urge to attack the theater as Beowulf does a monster—without clothes.