Heroes are easy to come by in film, but it is where they originate that is more elusive. Exploring that archetype, director Robert Zemeckis combines modern technology with a millennia-old tale to bring an unreal but exciting feel to "Beowulf."
Long before it was a movie, the tale of "Beowulf" was an epic poem tracing its origins to approximately the sixth century. In the film of "Beowulf," King Hrothgar, played by Anthony Hopkins, is under attack in his mead hall called Herot. Herot is under siege by the monstrous Grendel, an inhuman giant played by Crispin Glover. When the call goes out for heroes, in strolls Beowulf, played by Ray Winstone.
The plot focuses on Beowulf's rise to the ultimate and original hero as he does battle with Grendel and later, his seductive demon of a mother, played by Angelina Jolie.
Fans of the original poem will be happy to know that while the movie takes liberties with the story, it largely stays true to the basic concepts and plotline. It is a story of valor and courage, exploring the line between man and monster and the process by which man becomes myth. New to the plot is a very 21st-century feel that employs several mirthful scenes and numerous sexual overtones, particularly in the form of Jolie's character.
What really sets "Beowulf" apart from its inspiration, and even from its film contemporaries, is its presentation. Told in the glory of 3-D including the cumbersome goggles, the movie employs an advanced form of motion-capture technology to produce the computer-generated likenesses of the actors. Hopkins, Jolie, Winstone and others are readily visible in their characters, albeit many liberties were taken. King Hrothgar is far more portly than the real-life Hopkins, and the normally short and plump Winstone is a 6-foot-6-inch warrior with a chiseled frame most men would kill for. The technology employed to create this effect used sensors so sensitive that the subtlest of muscle movements and even the shifting of the eyes could be brought to the screen. The expressions we see on the faces of the characters are nearly perfect digital recreations of the actors' actual movements.
Unfortunately, "Beowulf" is a movie made before its time. The technology provides stunning visuals, but as of yet, there is still a gap between CGI and live-action filming. A plotless action flick with no character development and large helpings of mindless violence would easily have gotten away with a 3-D perspective. But instead, "Beowulf" employs genuine intellectual exploration via personal growth and interpersonal contact that necessitates genuine acting. A personal empathy cannot be formed between the audience and a digital likeness, no matter how accurate.
Despite its technological overzealousness, "Beowulf" is still a well-scripted tale of man versus monster and also versus man himself. Just how much acting takes place is difficult to judge, with nothing but voices and digital likenesses to provide evidence, but "Beowulf" still offers one-liners and visually stunning action. The digital sexuality is ambiguously open to interpretation. Those who think such scenes still require live actors might be put out, but the late-night explorers of the very bowels of the Internet will be well-targeted.
"Beowulf" is a timeless story that could have been a great movie, but it got ahead of itself. Technology is not yet ready to replace the actor-to-audience bond of live action. For a new take, visually and artistically on a very old story, see "Beowulf" in theaters nationwide tomorrow.
