The first clue that this film is a different take on the story is the title. Rather than simply depicting Beowulf's killing of a one-note Grendel as metaphor for good triumphing over evil, it is the story of the intersection of two fully realized, complex characters. This retelling wants us to rethink the simplistic concept of good and evil. The first step is to give us a Grendel we can understand, and a Beowulf weary enough of war to try.
Beowulf is a man used to that simplistic concept of war as good versus evil he's cool and efficient at killing, and when Hrothgar calls he's ready to put Grendel's head on a pole. But he's thrown off balance when Grendel won't engage. He becomes a sort of detective, not the warrior of legend but the imperfect man behind it, simply trying to get his bearings. With Butler's presence and nuanced performance, Beowulf may not be the mythically embellished warrior but is nonetheless wholly compelling, and on a human scale, heroic.
Skarsgard is amazing as King Hrothgar, a man self-destructing as he helplessly watches Grendel killing his people, consumed with hiding the fact that the catalyst was his own reckless action. Words like "walks on water" come to mind when describing Skarsgard's work. (His performance in "Aberdeen" is not to be missed).
Grendel, in an inspired performance by Ingvar Sigurosson, is a physically frightening brute with the heart of a small boy who loves his father and hates the ones who killed him. And he's smart smart enough to make buffoons out of Hrothgar and Beowulf at turns. Even without dialogue, Sigurosson gives us that Grendel we can understand.
Selma, portrayed like the glassy calm surface of a deep river by Sarah Polley, is the conscience of the piece. Her gaze is wide open - holding no illusion about the goodness of human nature and rather discomfiting to Beowulf. She's delicate and powerful, and as cool and efficient at surviving as Beowulf is at being a warrior. Beowulf goes to her for answers, but not the ones he ends up getting.
Andrew Rai Berzins' script is crisp and wry, and short on exposition, relying instead in great measure on the collaboration of the actors to tell the story, and they deliver. Hrothgar tells us with one subtle look exactly what he thinks of the blathering, apoplectic priest. Instead of writing a line of dialogue, Berzins allows Hondscioh (Tony Curran) to speak to us silently, his expression slowly reflecting the dread he sees on the faces of his mates as they realize he's just earned Grendel's wrath. And Grendel doesn't play around - much.
This film is truly a team effort, and this is the kind of team we root for. With Berzins' thoughtful and humorous script reflecting the real camaraderie of the talented cast, and Gunnarsson's direction reflecting his obvious love both for the story and for Iceland, we get a moving and beautiful film.
Usually warrior epics end with the hero vanquishing his foe in some brave and spectacular way. For this team's Beowulf, the real foe is thoughtless intolerance something not even a hero can vanquish, except within himself.
Beowulf is a man used to that simplistic concept of war as good versus evil he's cool and efficient at killing, and when Hrothgar calls he's ready to put Grendel's head on a pole. But he's thrown off balance when Grendel won't engage. He becomes a sort of detective, not the warrior of legend but the imperfect man behind it, simply trying to get his bearings. With Butler's presence and nuanced performance, Beowulf may not be the mythically embellished warrior but is nonetheless wholly compelling, and on a human scale, heroic.
Skarsgard is amazing as King Hrothgar, a man self-destructing as he helplessly watches Grendel killing his people, consumed with hiding the fact that the catalyst was his own reckless action. Words like "walks on water" come to mind when describing Skarsgard's work. (His performance in "Aberdeen" is not to be missed).
Grendel, in an inspired performance by Ingvar Sigurosson, is a physically frightening brute with the heart of a small boy who loves his father and hates the ones who killed him. And he's smart smart enough to make buffoons out of Hrothgar and Beowulf at turns. Even without dialogue, Sigurosson gives us that Grendel we can understand.
Selma, portrayed like the glassy calm surface of a deep river by Sarah Polley, is the conscience of the piece. Her gaze is wide open - holding no illusion about the goodness of human nature and rather discomfiting to Beowulf. She's delicate and powerful, and as cool and efficient at surviving as Beowulf is at being a warrior. Beowulf goes to her for answers, but not the ones he ends up getting.
Andrew Rai Berzins' script is crisp and wry, and short on exposition, relying instead in great measure on the collaboration of the actors to tell the story, and they deliver. Hrothgar tells us with one subtle look exactly what he thinks of the blathering, apoplectic priest. Instead of writing a line of dialogue, Berzins allows Hondscioh (Tony Curran) to speak to us silently, his expression slowly reflecting the dread he sees on the faces of his mates as they realize he's just earned Grendel's wrath. And Grendel doesn't play around - much.
This film is truly a team effort, and this is the kind of team we root for. With Berzins' thoughtful and humorous script reflecting the real camaraderie of the talented cast, and Gunnarsson's direction reflecting his obvious love both for the story and for Iceland, we get a moving and beautiful film.
Usually warrior epics end with the hero vanquishing his foe in some brave and spectacular way. For this team's Beowulf, the real foe is thoughtless intolerance something not even a hero can vanquish, except within himself.