When I hear „Beowulf”, my mind brings about the vision of proud and brave Scandinavian warriors, who fight till the last drop of blood, feast as long as mead is streaming down and have no objections against sailing on unknown waters. I hear sounds of early-medieval instruments, the humming of the sea and the northern wind, carrying terrible roars of monstrous Grendel. The smell of villages, burned by a dragon’s fiery breath, completes the picture.

Once, when such pictures lingered on my mind, I got this desire to watch „Beowulf” (in Poland distributed under a charming title „Beowulf – Darkness Slayer”) from 1999, directed by Graham Baker. After several first minutes of the film I didn’t know how to react. My mind was stilled, petrified by this amazing and strange vision of the deeds of the eponymous hero. After all – it’s better to do that than cry. We all know the saying, according to which such behaviour prolongs life. The production I describe must have granted me a few additional years of existence…

You would certainly want to know why. I’m hurrying to explain. So, if you have enough courage, I invite you to read my text on this „work of art”.

Firstly, let us think about the general idea behind this artistic presentation. If I was to describe it clearly, I wouldn’t probably be able to write this text at all, because I can find links to too many different works. I would expect some clearly visible allusions to Nordic mythology or Viking culture. But the only two elements of such nature I could find were: the title of the film and names of some of its characters. On the other hand, it was much easier for me to find references to… Slavic mythology! Equally interesting was the post-apocalyptic atmosphere, which I could compare to the very dark vision of the Appalachian Federation from the popular „Neuroshima” game. Also, the music is in no way related to the original version of Beowulf story. You will admit that it is hard to consider something like electro appropriate for a production on this subject? Why wouldn’t they choose at least some decent Viking Metal?

Since we’ve mentioned the characters. Surely, at least some of you know Wiglaf, Hrothgar or other characters from the poem. I was severely disappointed in this matter. Only Beowulf and the Danish lord remain from the original version. When it comes to the rest of the characters, it gets... interesting at the very least. Well, Roland was certainly meant to embellish the film, but I cannot find a logical explanation as to why this name appears in the story. You cannot deny that he is also a great hero, whose bravery is described in „The Song of Roland”, but really. Especially, that originally he was a knight and here he is a madman, engrossed in hitting his soldiers with various instruments designed to hurt others. So let us look at some major characters of this... drama. Yes, that is a good word.

Beowulf

The main protagonist, having as much in common with his mythical prototype as a knight’s morning star with a Japanese katana. In this version this invincible warrior is presented to us as a... Witcher? Let’s now think what the features of Geralt of Rivia are. Black clothes, with many interesting accessories: hooks and as such, a sword on his back, faithful steed and white hair. Christopher Lambert should act in the Polish filming of Sapkowski’s novel, not in this production, as he fulfils the above-mentioned conditions even better, and certainly on an incomparable level, than Żebrowski.

Hrothgar

Oliver Cotton is actually the shining point of the cast. Were it not for the double handed sword, resembling a saw-fish’s nose, the full plate armour and the general scenery of the film, he could play the Danish ruler. However… the general idea, or perhaps: its strangeness, shattered the appropriate looks and charisma of this actor.

Roland

Here I must again express my astonishment. What is a character with this name doing in the film, which, at least in general assumptions, is based on the Anglo-Saxon poem? This fellow has after all appeared in literature much later, completely independently from the Nord. The mere idea of calling forth this persona, disregarding even his distorted mind, provokes highly negative feelings in me.

Kyra

In the original version of the myth it would probably be the Danish queen. Anyway, everything is so mixed up here, that I cannot fit her to any Viking original. In that case, what is she doing here? Let’s think… As befits a good American film, the main protagonist must either find an object of affection, or become one (especially when he is a witcher).

The rest of the cast also deserve their 5 minutes. Especially black actors playing the keepers of castle, or however you call it, armoury. Despite the appearances, they do not provoke any extreme emotions in me. They simply are, like most of the characters, objects and places in this production. Whether they fit here is another matter… Ok, I myself do not know what kind of matter it is, as this film provides shelter for ideas with which I would never come up.

You have also probably noticed my uncertain attitude towards Hrotghar’s castle. It is because the castle is so different from what the Anglo-Saxon poem tells us about the seat of the king, that I simply do not know, what place it is. This is not particularly noticeable for a very simple reason: the weirdness of the entire film.

By the way, I am curious what inspired the people involved in creating the image of the characters, the places and other flaws of this product. Or rather, to put it clearly: I am concerned about the legality of whatever aided them.

Having dealt with positive characters, let us move to Grendel and his mother. Of course, they could not have been absent, and at least their presence remains quite consistent with the original. If any consistence could be mentioned at all.

Grendel himself is portrayed in an interesting, intriguing and quite not-bad-at-all way. He is a monster, after all, so he needs to present himself properly. And it is so, in fact. His behaviour, presented mainly in the way he disposes of his opponents, is especially in agreement with his mythical invulnerability and monstrosity, and industrial-postapocalyptical reality. The film deserves a praise for the way the monster is depicted. Anyone expecting a fear-provoking creature will not be severely disappointed.

The mother of our hated butcher is, however, a completely different story. Her appearance is shrouded in a quite interesting intrigue, or rather: story. And yet something disturbs me. Disregarding the looks of the actress here, as I could accept such a vision, or even praise its creativity. Still, I find the creature’s origins unconvincing. In fact, it is another of the absurdities of the film. Those interested should watch the film and then google „Bhaal”, I assure you that results are very thought-provoking.

The plot is also worth mentioning.

If I were to judge the entire film basing only on the plot, the tragedy would not be so bad. The main line remains in agreement with the original. Well, I myself have no idea how it could be changed. In the end, a monster harassing the domain of the Danish king, the hero that comes to an aid, the epic battle with Grendel and then with his mother make and excellent basis for both: a fantasy production and an adventure film, lacking any fantastical elements.

The linearity was no avoided, but the same could be said against any adaptation of „Beowulf”, couldn’t it? After all, the entire story is based on the same ideas. And yet even a good plot doesn’t save this film, because what was done to the myth is beyond belief.

Well, you have probably noticed, reading this review, that I do not particularly like this film. That is true and I do not attempt to hide it. The reasons for my negative approach were given in the beginning of this article. My vision of this story is completely different.

Still, it is a story worth recommending to those who like Geralt of Rivia, electro music, or simply want to see for themselves how this weird production looks like. My personal opinion remains as what was stated above. „Beowulf – Darkness Slayer” is most probably an open mockery of the original. I don’t know how to put it differently.

Kamil "Tyrsson" Gołębowski

Proofreading: Paulina Maria "Lorelay" Szymborska-Karcz

Translation: Agata "PaniPonura" Staszewska

Original title: Beowulf
Polish title: Beowulf – pogromca ciemności
Director: Graham Baker.
Script: David Chappe, Dave Chappelle, Mark Leahy.
Producers: Jane Barclay, Gregory Cascante, Gregory Cascante, Lawrence Kasanoff, Sharon Harel, Donald Kushner, Peter Locke, Alison Savitch.
Music: Ben Watkins.
Shoots: Christopher Faloona.
Editing: Roy Watts.
Stage design: Jonathan A. Carlson, Ben Zeller Ben Zeller, Oana Paunescu.
Costumes: Sanja Milković Hays.
Length: 1 h 35 min.

Cast:
Rhona Mitra - Kyra
Christopher Lambert - Beowulf
Oliver Cotton - Hrothgar
Götz Otto - Roland
Vincent Hammond - Grendel
And rest.