Shot in Iceland by Icelandic director Sturla Gunnarsson, Beowulf and Grendel pulls off just enough historicism to entertain while remaining readily accessible to modern mainstream audiences. What Gunnarsson's film lacks in linguistic authenticity (modern epithets and speech dominate Canadian Andrew Rai Berzins' screenplay) and commitment to the original legend, is readily made up for by the film's remarkable sets, fantastic (and sometimes jarring) costumes and prosthetic work, and the picture-perfect Icelandic landscape in which it was filmed.
Gunnarsson keeps the pace about as steady as the original poem and its more recent popular reworking "Grendel" (by John Gardner), from which the screenplay draws about equally. In other words, Beowulf and Grendel, though action-oriented - should not be sold as a mainstream modern action film. Instead, it is a somewhat faithful retelling of a great story blending themes of prejudice, xenophobia, heroism, and cycles of violence.
As a young troll, Grendel witnesses the death of his father at the hands of a Danish raiding party lead by King Hrothgar (Stellan Skarsgård), but his life is spared by the king, who is the only member of the party aware of the Grendel's existence. As an adult, Grendel (Ingvar E. Sigurdsson) exacts his revenge, massacring most of Hrothgar's men and harassing his village. Beowulf, ably played by Gerard Butler, is a stoic and thoughtful hero who brings a small army of Norse warriors to assist Hrothgar's people by slaying Grendel. The troll, however, isn't interested in fighting with those who have done no wrong to him and his kin. And as Beowulf tries to bring the inevitable confrontation to fruition, his understanding of his opponent changes subtly and importantly - exposing the film's central paradox.
Whether you know the old story or not, Beowulf and Grendel will entertain you on more levels than the simple action of the story can convey. Many of the fantastic elements of the original story are downplayed or completely removed, and the sympathy between the primary adversaries is amplified - mainly through interactions between the key characters - Beowulf, Grendel and Selma, the young and beautiful outcast witch (Sarah Polley). Grendel is depicted as an extremely big man with a furrowed forehead, clearly emphasizing his kinship with us and affectively challenging the Danes' animosity toward him. Through Selma, Beowulf must come to understand his enemy before deciding what he must do. But the die has been cast, and the film elicits a powerful fatalism which also helps to keep the tensions of the central theme vital.
With the exception of Sarah Polley - who gives an uncharacteristically uneven performance - the acting is superb. Sigurdsson and Butler were especially impressive, and Skarsgard never disappoints.
Several of the film's critics appear to have been distracted by the historical inaccuracies - especially language and clothing. Remarkably, many of the critics who panned or nearly panned the film upon its release made comparisons to Monty Python and the Holy Grail. While the Holy Grail is a masterpieces of historical absurdism, let's be clear about the comparison. There is none. First, Beowulf and Grendel is not funny - at all. Second, it is a much more fantastic and allegoric fable than most of the Arthurian legends, and, unlike those legends, probably has no basis in fact. Instead, like most good fables, Beowulf and Grendel tells us something about the truth - not the facts - while keeping us engaged and entertained. Anachronism is forgivable in a timeless story.
Gunnarsson keeps the pace about as steady as the original poem and its more recent popular reworking "Grendel" (by John Gardner), from which the screenplay draws about equally. In other words, Beowulf and Grendel, though action-oriented - should not be sold as a mainstream modern action film. Instead, it is a somewhat faithful retelling of a great story blending themes of prejudice, xenophobia, heroism, and cycles of violence.
As a young troll, Grendel witnesses the death of his father at the hands of a Danish raiding party lead by King Hrothgar (Stellan Skarsgård), but his life is spared by the king, who is the only member of the party aware of the Grendel's existence. As an adult, Grendel (Ingvar E. Sigurdsson) exacts his revenge, massacring most of Hrothgar's men and harassing his village. Beowulf, ably played by Gerard Butler, is a stoic and thoughtful hero who brings a small army of Norse warriors to assist Hrothgar's people by slaying Grendel. The troll, however, isn't interested in fighting with those who have done no wrong to him and his kin. And as Beowulf tries to bring the inevitable confrontation to fruition, his understanding of his opponent changes subtly and importantly - exposing the film's central paradox.
Whether you know the old story or not, Beowulf and Grendel will entertain you on more levels than the simple action of the story can convey. Many of the fantastic elements of the original story are downplayed or completely removed, and the sympathy between the primary adversaries is amplified - mainly through interactions between the key characters - Beowulf, Grendel and Selma, the young and beautiful outcast witch (Sarah Polley). Grendel is depicted as an extremely big man with a furrowed forehead, clearly emphasizing his kinship with us and affectively challenging the Danes' animosity toward him. Through Selma, Beowulf must come to understand his enemy before deciding what he must do. But the die has been cast, and the film elicits a powerful fatalism which also helps to keep the tensions of the central theme vital.
With the exception of Sarah Polley - who gives an uncharacteristically uneven performance - the acting is superb. Sigurdsson and Butler were especially impressive, and Skarsgard never disappoints.
Several of the film's critics appear to have been distracted by the historical inaccuracies - especially language and clothing. Remarkably, many of the critics who panned or nearly panned the film upon its release made comparisons to Monty Python and the Holy Grail. While the Holy Grail is a masterpieces of historical absurdism, let's be clear about the comparison. There is none. First, Beowulf and Grendel is not funny - at all. Second, it is a much more fantastic and allegoric fable than most of the Arthurian legends, and, unlike those legends, probably has no basis in fact. Instead, like most good fables, Beowulf and Grendel tells us something about the truth - not the facts - while keeping us engaged and entertained. Anachronism is forgivable in a timeless story.