Beowulf is a 2007 American animated fantasy action film produced and directed by Robert Zemeckis, written by Neil Gaiman and Roger Avary, based on the Old English epic poem Beowulf, and featuring the voices of Ray Winstone, Anthony Hopkins, Robin Wright, Brendan Gleeson, John Malkovich, Crispin Glover, Alison Lohman, and Angelina Jolie. The film 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 grossed over $196 million and received positive reviews from critics.
Plot[]
In the age of heroes, a mighty warrior named Beowulf arrives at the court of King Hrothgar and offers to rid the kingdom of a vicious demon called Grendel. He successfully slays the beast but thus incurs the wrath of Grendel's mother, a creature as vicious and vengeful as she is seductive.
Synopsis[]
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 casts away his sword and armour, and strips naked and relaxes before Grendel arrives so that they can fight as equals. During the fight, an unarmed and naked 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[]
- Ray Winstone as Beowulf
- Crispin Glover as Grendel
- Angelina Jolie as Grendel's mother
- Anthony Hopkins as King Hrothgar
- John Malkovich as Unferth
- Brendan Gleeson as Wiglaf
- Robin Wright as Queen Wealtheow
- Alison Lohman as Ursula
- Costas Mandylor as Hondshew
- Sebastian Roche as Wulfgar
- Greg Ellis as Garmund
- Tyler Steelman as Young Cain
- 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[]
Development[]
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). 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. 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. 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.
Animation and visual effects[]
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. 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.
Over 450 graphic designers were chosen for the project, the largest team ever assembled for a Sony Pictures Imageworks-produced movie as of 2007. 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. 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. 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. 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.
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. Jerome Chen worked to process large crowd scenes as early as possible, as additional time would be needed to process these scenes in particular. 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.
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. 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. 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.
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. Zemeckis used Alan Ritchson for the body model for the title character of Beowulf. 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.
Music[]
The music for Beowulf was composed and conducted by Alan Silvestri. A soundtrack was released November 20, 2007. 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[]
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. 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.
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. 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", 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.
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.
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)
- The fact that Beowulf becomes ruler of Denmark instead of his native Geatland
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.
Release[]
At San Diego Comic-Con in July 2006, Gaiman said Beowulf would be released on November 22, 2007. 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. Beowulfwould additionally be released in 35 mm alongside the 3D projections.
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. Beowulf was also set to premiere at the 2007 Venice Film Festival, but was not ready in time. Instead, the film's world premiere was held in Westwood, Los Angeles on November 5, 2007.
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. 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[]
To promote the film, a novelization of the film, written by Caitlín R. Kiernan, was published in September 2007. This was followed by a four-issue comic book adaptation by IDW Publishing released every week in October 2007.
A video game based on the film entitled Beowulf: The Game was released on Xbox 360, PlayStation 3, PC and PSP formats. The game was announced by Ubisoft on May 22, 2007, during its Ubidays event in Paris. It was released on November 13, 2007, in the United States. The characters are voiced by the original actors who starred in the film. On November 1, 2007, Beowulf: The Game was released for mobile phones. The side-scrolling action video game was developed by Gameloft.
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[]
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.
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. 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).
Gallery[]
Transcript[]
Trivia[]
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References[]
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