November 2007
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Beowulf (12a)
Published 14th November 2007

The oldest surviving poem in the English language is now a cutting edge feature film, courtesy of visionary director Robert Zemeckis (Who Framed Roger Rabbit). A tale of magic and monsters, swords and sorcery, valour and glory, Beowulf is your quintessential fantasy fable, a visual feast for the eyes and a singular cinematic experience quite unlike any other.

Utilising the “performance capture” technology invented by Zemeckis (and first used for The Polar Express) that looks set to revolutionise cinema as we know it, Beowulf has been brought to life through a combination of green screen, motion tracking acting and digital animation. In laymen’s terms, that’s CGI animation based on real people’s movement.

Stunning to look at, this new technique (know as mo-cap) allows a freedom for the camera to roam around the screen that live action simply could not offer. Sweeping and swooping up, down and around, there is a real and tangible kineticism to the exciting events that unfold (especially during Beowulf’s vertigo-inducing duel with a golden dragon at the movie’s climax).

Detailed like never before, the animation on display is almost photorealistic in its rendering; human characters convincingly convey fully humanistic characteristics such as gait and facial tics, whilst the backgrounds interact seamlessly. In fact, so textured is the animation that in close-up masculine characters can be seen to be sprouting stubble and the female characters flawless skin. The only place that this newfangled technique falls down is in the eyes. Glassy and lifeless, they are a little doll-like and struggle to convey emotion. They are, however, a marked improvement on Beowulf’s Polar predecessor.

Recognisable through the CG, each actor in Beowulf is the perfect foil’s for their animated other. Led by Ray Winstone (King Arthur) as the gruff-voiced, ultra-male Beowulf – and the least look-a-likey, which isn’t a surprise being that his real-life appearance is the only one that didn’t inspire the look of their character – it also features Anthony Hopkins (Bram Stoker’s Dracula) as Hrothgar, the monologging King of the cursed lands, John Malkovich (Eragon) as Unferth, the King’s weasel-like right-hand man, Robin Wright Penn (The Princess Bride) as Wealthow, the King’s unhappy bride, Brendan Gleeson (Kingdom of Heaven) as Wiglaf, Beowulf’s trusted best friend, Crispin Glover (Back to the Future) as Grendel, the misunderstood monster that Beowulf must defeat and Angelina Jolie (Sky Captain and the World of Tomorrow) as the sexy sorceress and root of trouble in the King’s lands.

Adapted for the screen by graphic novelist Neil Gaiman and Roger Avery (Silent Hill), Beowulf the movie does take certain liberties with the original text that is sure to offend some scholars. Adding in backstory and embellishments to the plot hole-heavy poem, Gaiman and Avery stay true to the tone of the original work whilst adding decent character motivation. Also applying some enjoyably grandiose and overly dramatic dialogue, there is plenty of quotable lines of the 300 variety (“I am the ripper, the terror, the slasher. I am the teeth in the darkness! My name is strength! And lust! And power! I AM BEOWULF!”) to enjoy during and after the movie.

Adult-in-nature, Beowulf is not an animation for the kids. Rated 12a, it features nippleless nudity, blood and guts fight scenes, frequently risqué comedy and an abundance of phallic symbology. Also tongue-in-cheek in tone, it has a wickedly fun sense of humour running throughout and never takes itself too seriously, which is best summed by the genius fight scene between a naked Beowulf and enraged Grendel that incorporates some cheeky Austin Powers-esque covering of Beowulf animated naughty bits.

Epic in scope and epic in achievement, Beowulf is a marvel of modern moviemaking. Is it the future of feature films? Perhaps, perhaps not. One thing’s for certain though, there’s never been anything quite like it before.

Oh, one more thing: do yourself a favour and catch Beowulf at your local IMAX or digital cinema if you can because, as entertaining as the 2D version will be, the 3D version is an immersive experience that has to be seen to be believed.

****

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