BEOWULF IN FILMS - or how cultural patterns establish....

The 13^th Warrrior (1999), along Beowulf and Grendel (2005 ) and Beowulf (2007) seem to form the triad of films that is most praised and valued in the popular conscience when it comes about the exploit of Beowulf figure. And not for nothing. A fast forward look on some aspects in these films, show how the figure of Beowulf made way and into collective memory and how it appears even in some films (very loved ones) that don't treat the topic in itself. 

I'll speed 3 or more arrows in the bow and shoot straight at these: 

The 13^th Warrrior, has as source for its script Michael Crichton's novel Eaters of the Dead. In the general view is constitutes one of the films that have accurate references to the novel of Crichton, and to the original source of inspiration as well. Yet there are some inaccuracies: for example, Melchisadek, ibn Fahdlan's interpreter for Greek and Latin is needed, yet in the book ibn Fahdlan knows both languages. Also the fact that the ambassador, ibn Fahdlan uses Latin in his communication with one of the Norsemen until he can speak the Norse language, is actually presented in the film in a more theatrical way (he appears to just listen the Norsemen while they talk to each other in their native language, and learns it by just that, surprising them one night with some memorable lines).  

Beowulf (2007) seems to bright into light the fantastical aspects of the story line in the poem, enhanced also by the effects of animation; it is the most modern made version of Beowulf, but I'm not exactly abounding in praise or love for it, nor have much to cling to in what I mean to point here. I may be mistaken, but....Moving forward! 

I'm reserving a special place for Beowulf and Grendel (2005). Directed by Sturla Gunnarsson is one of the best versions of the Anglo-Saxon epic poem, being set in the 6^th century AD; not only filmed in a wonderful setting in Iceland, also respects historical data in what concerns the customs/traditions depicted there and the amazing costumes, very close to what the Vikings used to wear. Buildings, weaponry and life-style of the Vikings were clearly studied with care, and that can be seen in the film. Another element of that aids the authenticity of the movie is represented by the dialogue specifically constructed from English words of Germanic origin only, without including Latin or French words. This aspect enhances the memory of the versed alliteration in the original poem.

It presents the first part of the glorious deeds of the young Beowulf, and respects the main lines of the original plot, bringing as a new element an intention to respect the history and present the events in the light of most accurate data, and be as historical as possible. It incites because it's not as simple as one might think in its content: it stirs the viewer to think about motivations to kill (Grendel, the thanes lead by Beowulf, and the hero himself), revenge as an act of some sort of justice (Grendel for personal reasons, Beowulf in his mission as a hero), a wide range of feelings experienced in the front of understanding another culture (Beowulf), psycho-social reactions and relations, the clash between opposed cultures and worlds, the superficiality with which the Christian fate was adopted among the Danes (or the whole of Scandinavia as a matter of fact). It is a film about the dawning on a new world, the raising of a powerful conscience: the scene in which Beowulf, after killing Grendel and his mother, piles up stones and raises a honorary little barrow close the place where the killing took place so that Grendel's son sees it and be aware that not all human are bad and also with the indirect message of not repeating his father's deeds. 

These three aren't the only films ever made on Beowulf, there are precedents in the history of film making, more or less related or connected by critics with archetypes contained in the poem, or simply episodic plot events they have in common: there are at least seven more, and more perhaps to have drawn inspiration from the poem, and especially the figure of the hero. 

But my aim in analysing these films lies in the lines below... 

In the final of his lecture from 1936, Tolkien ends with a memorable sentence: It is to idols that men turned (and turn) for quick and literal answers. (p.19) 

Is it that once with the development of the different forms of media that men do indeed search for quick ways to idols like Beowulf? How can a poem so old be so influential in arts? Why?

There are some possible answers. The poem Beowulf seems to have surpassed the centuries through its heroic character exactly because people need to believe in things which are above them, in demi-gods like Beowulf, who give hope. In literature, film, music, people find a refuge too. A poem like Beowulf ensures a cornucopia of perpetual answers and has established a pattern in the popular culture.

I would like to say that this phenomenon plays a social function: taking for example the series of very popular films Die Hard we can identify a pattern which was established in and by Beowulf, a pattern followed in these films: an outsider comes in to save the day against evil villain, the outsider is able to succeed where the locals fail dismally, although they outnumber and out-gun him, he receives wisdom and support from a local source and faces off against the bad guy, the hero is threatened again at the end after the main villain is killed. Does the structure of Die Hard align with the poem Beowulf because Beowulf has influenced a millenium of writers? Or is it that both tap in to a concept of the hero? Why must the hero be an outsider? 

This is where the social function arises: if the outsider is a hero, then it can be any one of us, the audience. It can be any of those men genetically designed to be doing heroic things, a demographic predominantly of males aged 16-30, but who in a modern society don't have that chance. If the hero who saves the day is a member of the same group which is threatened, then by implication, unless you are in a threatened group, you cannot be the hero, being a psychologically closed system. Yet if the hero comes from outside, especially if it's someone who is not ready or equipped to do the deed, then it could be anyone.

Possibilities are infinite. Dreams are allowed in, that triggers hope in too. People from the audience identify with the character they see on the screen, live the deeds through the screen.

There is another significant aspect also: the effects of Christianity in the social plan, meant more order, less confrontations and fights, a ''right'' held by men rightfully, a sign of manhood and a sense of it. Confirmation of masculinity. Aren't these art products mentioned here meant to serve a large mass of population consumption, as means for a quest? A quest in search not search of that which is lost, a nostalgia for "The Heroic Age" where Beowulf is the icon which fills the need of a Die Hard and viceversa?