When discussions about Robert Zemeckis' fantastical use of motion-capture arise, these conversations typically lean intoThe Polar ExpressandA Christmas Carol.Understandably, given that both films are exceptional in their use of performance capture, whilst faithfully adapting classic tales. But it also comes at the expense of another Zemeckis flick that doesn't get nearly the attention it deserves.Beowulf,likeA Christmas CarolandThe Polar Express,adapts a classicfantasy story through motion-capture, just with slightly more mature action.
Beowulfis the second film in Zemeckis' unofficial motion-capture trilogy, and inarguably its most overlooked. Drawing loosely from the Old English epic poem dating back to around 700 A.D., the film retains many of the original names while reimagining the story's setting. The reason for the film's obscurity likely comes from its maturity. Unlike the other two, which have become Christmas family classics,Beowulfdoes delve into more adult territory, most notably for its heavily-debated Angelina Jolie nude scene - although it's still an animation, so many argue it isn't "technically" crude. That said,Beowulfis an ambitious and visually striking film that deserves appreciation forZemeckis' continued experimentation.
Beowulf is a Visually Impressive Take on a Classic Tale
In 507, Geatish warrior Beowulf (Ray Winstone) travels to Denmark with his band of soldiers to help King Hrothgar (Anthony Hopkins) and his people, whose mead hall has been repeatedly attacked by the monster Grendel. Beowulf becomes drawn to Queen Wealtheow (Robin Wright Penn) while preparing to face the creature. To lure Grendel out, Beowulf and his men celebrate loudly in Heorot, leading to a confrontation in which Beowulf discovers the monster's weaknesses and defeats it. For his victory, Hrothgar rewards Beowulf, and the hero returns home with Grendel's head, claiming credit for the battle.
Soon after, Grendel's mother (Angelina Jolie) seeks revenge, attacking Hrothgar's hall and putting Beowulf's men at risk. Beowulf, with his ally Wiglaf (Brendan Gleeson), confronts her in her cave, where he negotiates a deal to secure his place in the kingdom. Years later, an older Beowulf faces further dangers when a dragon attacks the kingdom, forcing him to take action to protect his people. Along the way, he contends with the consequences of his past actions and the promises that have shaped his life as a leader and warrior.
Beowulf is a Forgotten Entry to Zemeckis' Motion-Capture Trilogy
When one watches the entirety of Zemeckis' motion-capture trilogy, the progression of his ambitions is fascinating.The Polar Express,as the first entry, was undeniably a gamble, turning a beloved children's book into a digital experience that initially divided audiences.Tom Hanks' multiple performances, captured and transposed onto animated avatars, were unusually authentic, yet the film's central themes of wonder and belief were relatable to many. Critics and viewers debated whether the technical achievements overshadowed the actual story, but the film undeniably paved the way for Zemeckis' continued explorations of performance capture.
Beowulf represented a change in this ambition, both story-wise and visually. WhereThe Polar Express focused on magic through innocence, and laterA Christmas Carol combined darkness with family-friendly virtue,Beowulftackled a more adult story. That said, the film's motion-capture, though at times stilted, offers a realism unlike its predecessor. Winstone's Beowulf is both heroic and flawed, Hopkins' King Hrothgar shows the wisdom of a ruler, and Jolie's Grendel's mother is both seductive and terrifying, all brought to life through the technology.
However, as explained, its attempt to be as faithful to the original story as possible didn't sit well with everyone. At the time of its release,Beowulf sparked some controversy on both sides of the Atlantic after being granted a PG-13/12A rating, despite featuring a surprising amount of fantasy violence and nudity. Even so, the theatrical version noticeably softens the bloodshed and sexual content seen in Zemeckis' more indulgent director's cut. Even so, the film works as an animated precursor toGame of Thrones, complete with bloody violence, sensuality, and the occasional tongue-in-cheek moment of censored nudity reminiscent ofThe Simpsons orAustin Powers.
Critically,Beowulf received a surprisingly warmer reception thanThe Polar Express, though opinions were split on how it handled the source material. Some praised the screenplay as a satirical take on the Old English poem, while others argued that it missed the overall point. The truth likely lies somewhere between the two: a film that works as both a reimagining and a straightforward fantasy epic. What makesBeowulf particularly interesting, however, is its place in the market. Big-budget animated films aimed at adults were, and still are, rare, and this one stood out for its commitment to action. Released the same yearas Zack Snyder's300,Beowulf anticipated the tone and style thatGame of Thrones would popularize several years later. In many ways, an R-rated version might have been ahead of its time.
Beowulf Should Have Been an Adult Film
The term trilogy is used loosely here, as the three films aren't actually connected, but grouping them together has arguably hurtBeowulf's reputation. When compared toThe Polar ExpressandA Christmas Carol,along with its PG-13 rating, it's natural for viewers to assume similarities. But, as stated,Beowulfis, technically, anything but a children's film. The violence is graphic, it's sexually overt, and its themes about power are more mature than those in the others.That aside, the original poem is one that would likely go over the heads of children, and this adaptation isn't all that different.
Beowulfwasn't marketed to its audience. It's almost as if the fact that it was animated automatically branded it as a children's movie, without anyone considering the actual tone or story. Had it been marketed as astandalone adult fantasy, rather than "from the director ofThe Polar Express," it likely would have been received very differently. By positioning it alongside two of the most fantastical Christmas stories ever made, the studio unintentionally set false expectations. It's aBeowulf adaptation, a myth about monsters and greed brought to life through groundbreaking technology. Every other adaptation of the classic poem has been treated as a dark and violent tale, because that's exactly what it is. Animation doesn't change that.
Ultimately,Beowulf deserves more recognition than it gets. It's the bridge between Zemeckis' early experimentation and the refinement that came later. Visually, it's arguably better thanThe Polar Express and narratively more ambitious thanA Christmas Carol. It's an animated epic that takes risks and stands as a rare example of using cutting-edge technology to tell an adult story. While it may not have the nostalgic charm or family appeal of the others,Beowulf is still a fascinating and ambitious chapter in Zemeckis' body of work. Just one that will likely be better appreciated by more mature audiences.
