Beowulf 2007 Filmhandlung und Hintergrund
In den Zeiten der Sagen und Legenden zieht der junge Held Beowulf vom Volk der Geatas in den Krieg gegen das blutrünstige Monster Grendel. Dieses sucht seit geraumer Zeit Dänemark und seinen König Hrodgar heim. Als es Beowulf schließlich gelingt. Die Legende von Beowulf (Originaltitel Beowulf) ist ein computeranimierter Fantasyfilm des Regisseurs Robert Zemeckis aus dem Jahr Die Motive des. Im 6. Jahrhundert bedroht das Monster Grendel den Königshof, bis der Krieger Beowulf auftaucht. Motion-Capture-Abenteuer mit Anthony Hopkins und Angelina. Die Legende von Beowulf (). Beowulf. Motion-Capture-Animation: In grauer Vorzeit der Heldensagen stellt sich der mächtige Krieger Beowulf dem Duell. Die Legende von Beowulf - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | tempus-euneg.eu Die Legende von Beowulf ein Film von Robert Zemeckis mit Ray Winstone, Angelina Jolie. Inhaltsangabe: Das menschenfressende Monster Grendel (Crispin. USA | Abenteuer, Fantasy | min. Ray Winstone kämpft gegen Ungeheuer. In grauer Vorzeit der Heldensagen stellt sich der mächtige Krieger Beowulf.
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Animated Epics: BEOWULF (1998) TV Movie [360p] HQ - Classic animationThe website's consensus reads, "Featuring groundbreaking animation, stunning visuals, and a talented cast, Beowulf has in spades what more faithful book adaptations forget to bring: pure cinematic entertainment.
Giving Beowulf three out of four stars, Roger Ebert argues that the film is a satire of the original poem. It all suggests that this kind of a moviemaking is more than a stunt.
By imagining the distant past so vividly, Zemeckis and his team prove that character capture has a future. I've never seen a 3-D movie pop with this kind of clarity and oomph.
It's outrageously entertaining. Tom Ambrose of Empire gave the film four out of five stars. He argues that Beowulf is "the finest example to date of the capabilities of this new technique [ Beowulf is a huge step forward [ While the technology has improved since 's Polar Express particularly in the characters' more lifelike eyes , the actors still don't seem entirely there.
Kenneth Turan of NPR criticized the film, arguing: "It's been 50 years since Hollywood first started flirting with 3-D movies, and the special glasses required for viewing have gotten a whole lot more substantial.
The stories being filmed are just as flimsy. Of course Beowulf does have a more impressive literary pedigree than, say, Bwana Devil.
But you'd never know that by looking at the movie. Beowulf's story of a hero who slays monsters has become a fanboy fantasy that panders with demonic energy to the young male demographic.
These creative interventions aren't especially surprising given the source material and the nature of big-studio adaptations. There's plenty of action in Beowulf , but even its more vigorous bloodletting pales next to its rich language, exotic setting and mythic grandeur.
Scholars and authors criticized the changes done upon the poem's story. Southern Methodist University 's Director of Medieval Studies Bonnie Wheeler is "convinced that the new Robert Zemeckis movie treatment sacrifices the power of the original for a plot line that propels Beowulf into seduction by Angelina Jolie—the mother of the monster he has just slain.
What man doesn't get involved with Angelina Jolie? And the story of Beowulf is so much more powerful. However, there were also positive academic reviews.
Philosophy professor Stephen T. Asma argued that "Zemeckis's more tender-minded film version suggests that the people who cast out Grendel are the real monsters.
The monster, according to this charity paradigm, is just misunderstood rather than evil similar to the version presented in John Gardner's novel Grendel.
The blame for Grendel's violence is shifted to the humans, who sinned against him earlier and brought the vengeance upon themselves.
The only real monsters, in this tradition, are pride and prejudice. In the film, Grendel is even visually altered after his injury to look like an innocent, albeit scaly, little child.
In the original Beowulf , the monsters are outcasts because they're bad just as Cain , their progenitor, was outcast because he killed his brother , but in the film Beowulf the monsters are bad because they're outcasts [ From Wikipedia, the free encyclopedia.
Theatrical release poster. Neil Gaiman Roger Avary. ImageMovers Shangri-La Entertainment. Pictures International.
Release date. Running time. Main article: Beowulf soundtrack. Box Office Mojo. Retrieved September 1, Retrieved Movies Online. Archived from the original on July 25, AWN, Inc.
Retrieved November 27, CG Society. Archived from the original on May 30, Los Angeles Times. Retrieved November 28, Media Mikes.
Beowulf in Contemporary Culture. Cambridge Scholars Publishing. Medieval Afterlives in Contemporary Culture. Bloomsbury Publishing. Digital Gaming Re-imagines the Middle Ages.
Pittsburgh Tribune-Review. Archived from the original on December 2, Milwaukee Journal Sentinel. Fleming November 29, The New Republic.
Beowulf on Film: Adaptations and Variations. Ethics and Medievalism. Lyman, Eric June 13, The Hollywood Reporter.
Retrieved April 18, November 12, Kiernan Harper Entertainment. Comic Book Resources. June 19, Game Daily. Archived from the original on March 17, November 16, Archived from the original on February 17, Retrieved April 16, Archived from the original on February 22, DVD Active.
November 19, Rotten Tomatoes. Retrieved October 17, Chicago Sun-Times. Rolling Stone. National Public Radio. The New York Times.
Archived from the original on December 4, The Independent. The Chronicle of Higher Education : B Michael J.
Alexander Nora K. Chadwick P. Grendel Eaters of the Dead. Films directed by Robert Zemeckis. Films by Roger Avary. Killing Zoe Mr.
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For example, Grendel is described as half-man, half-demon. The mother is described as a water demon. John Malkovich Unferth Voice.
Crispin Glover Grendel Voice. Brendan Gleeson Wiglaf Voice. Alison Lohman Ursula Voice. Dominic Keating Old Cain Voice. Robert Zemeckis Director.
Neil Gaiman Writer. Roger Avary Writer. Robert Zemeckis Producer. Steve Starkey Producer. Jack Rapke Producer. Neil Gaiman Executive Producer.
Roger Avary Executive Producer. Martin Shafer Executive Producer. Robert Presley Cinematographer. Cannes Carrey and co.
Present A Christmas Carol. January 29, Rating: B Full Review…. November 24, Full Review…. November 19, Full Review…. June 6, Rating: 3.
February 18, Rating: B Full Review…. January 7, Rating: 6. View All Critic Reviews Jul 27, It's brilliantly presented with state-of-the-art CGI-animation and visual effects.
Though many of its die-hard followers of the epic might not find this adaptation accurate, Beowulf is an entertaining blend of CGI with actual actors and daring action and drama.
Eugene B Super Reviewer. Feb 23, Jamie C Super Reviewer. Nov 24, For the best part of two decades, Robert Zemeckis had a golden reputation for integrating cutting-edge special effects into engrossing narrative filmmaking.
If James Cameron was the man you turned to in justifying action movies, Zemeckis' work was testament to the idea that special effects films could have real emotional depth.
Whether it's Back to the Future, Forrest Gump or Who Framed Roger Rabbit, the effects are married quite beautifully to the characters, and the story is always the driving force.
But like Cameron, something happened to Zemeckis which caused him to forget his biggest gift. In Cameron's case, he made Titanic: in his search for epic romance he forsook what was left of Roger Corman's teachings, got rewarded for it, and then made Avatar.
With Zemeckis, he embraced motion capture with open arms; the freedom to digitally reshape his actors eroded his ability to capture nuance or humanity, resulting in films which are technically adept but emotionally hollow.
After The Polar Express, we now have Beowulf, a muddled and often misjudged take on the Old English legend, which has plenty by way of flesh and blood, but not enough meat on its bones.
First and foremost, there is nothing inherently wrong with motion capture. The Lord of the Rings and King Kong both demonstrated that it can be successfully integrated with live-action, and The Adventures of Tintin showed that making a film entirely within that medium save for the title sequence can be effective for certain stories.
The problem with Beowulf is not the fact that it is in motion capture: the problem is that Zemeckis doesn't justify using the technology, either on this kind of scale or for this kind of story.
As impressed as you might be by the effects, there's always a feeling that the story would be conveyed just as well with ordinary, fleshy human beings.
That said, there are a number of technical shortcomings with the film. The perspective on several shots is out of whack, with Grendel's arms and legs changing size at random until all sense of scale is lost.
Some of Zemeckis' camera angles and shot choices are ineffective, with the long pull back from Hrothgar's village into Grendel's cave seeming superfluous.
And there is the residual problem of 'dead-eye syndrome', in which the characters look so photo-realistic that we are repulsed by it.
While they are slightly less eerie than their counterparts in The Polar Express, we are still hovering over or around uncanny valley, limiting our ability to emotionally connect with the characters.
The second major problem with Beowulf is that it doesn't do justice to the source material. The film has a handful of interesting ideas or themes we'll come to those later , but none of them serve the ideas of the original story: some of them are so far removed that it borders on contempt.
The film is written by Roger Avary and Neil Gaiman, the latter of whom has a great record in the fantasy genre, having written Stardust and Coraline.
Either the screenplay was a huge misstep in amongst a rich vein of form, or Zemeckis was simply unable to interpret it in a satisfying, cinematic manner.
At this juncture you may make the point that being faithful to the source material isn't a guarantee of quality.
You can point to my many Disney reviews, in which I praise the likes of Peter Pan despite the huge departures from their original sources.
There is, however, a fundamental difference between creating 'the Disney version' of a story and the manner in which Zemeckis has approached Beowulf.
Disney has always attempted to bring something new to every tale it has tackled: the changes usually represented a creative engagement with the story, even if that engagement resulted in failure.
With Beowulf, Zemeckis has stripped the legend down to its bare bones and beyond, ignoring all the really interesting parts and only keeping what he can turn into a rollicking rollercoaster ride.
If Disney is a benevolent, occasionally inspired dictator, Zemeckis is in this instance a ruthless asset-stripper.
The original poem was a celebration of tribal values, with emphasis being placed on kinship, loyalty and honour in the face of great evil.
A number of scholars, including J. Tolkien, have noted it as a meeting point between pagan and Christian literary traditions; the first manuscripts imply that it is a Christianised retelling of Danish culture with strong hints of the Old Testament.
But aside from a couple of patriotic speeches, Beowulf makes no attempt to approach or engage with either the themes of the story or its reputation.
What the film attempts instead is to use the story of Beowulf as a starting point for its own ideas about the fantasy genre. Some of its ideas attempt to rework the story, others are more abstract and unrelated to the source, in a manner which is both frustrating and tantalising.
The main reworking concerns the relationship between Hrothgar, Beowulf and Grendel's mother,. The Biblical interpretation, which sees Grendel and his mother as the cursed offspring of Cain, is replaced by a Freudian one, in which the human protagonists are part of a cyclical Oedipal struggle rooted in the desire to control humanity.
The idea of human warriors making forbidden, sexual pacts with supernatural beings to ensure peace is in and of itself very interesting.
On the one hand, it gives Grendel some form of motivation, making him the consequence of something rather than just another monster.
He becomes very much a body horror character, like the strange creatures in David Cronenberg's The Brood or Andrzej Zulawski's Possession.
On the other hand, this idea draws comparisons with Faust and H. Lovecraft; it characterises humans as being at the mercy of ancient demons, who either give them what they desire only to betray them, or who simply allow them to live in fear until the time is right to wreak destruction.
There is also a fleeting exploration of the process by which legends and reputations come about. When he first arrives at court, Beowulf is questioned by Unferth John Malkovich with a silly accent about the monsters he has killed.
Beowulf spins a yarn about fighting sea monsters and swimming across oceans, with his men remarking sotto voce about him changing certain details. The film never goes into any great depth with this idea, but it's appropriate to raise it in some form, considering the contentious origins of Beowulf itself.
But for all the interesting implications present in these ideas, they are ultimately drowned out by the insistence on big, dumb spectacle.
Even in the quieter scenes, Zemeckis is determined to keep things barrelling along, regularly cutting when it is unnecessary or composing his shots just so he can show off the technology.
The film is obsessed with throwing stuff at the screen as opposed to building up character or mood, and eventually we just give up and let it all wash over us in total bemusement.
There are any number of moments in Beowulf which will make you scratch your head in disbelief. Beowulf himself looks the part, with the body of Adonis and a full head of hair - but the second that Ray Winstone speaks, the whole film jumps the shark and the only sane response is to snigger.
Angelina Jolie plays the sexualised Grendel's mother as well as you'd expect - but that doesn't explain why a shape-shifting lizard should have feet resembling stiletto heels.
And then there's Beowulf's fight scene with Grendel, featuring the former fighting in the nude. While naked combat may have existed in days of yore, the whole fight is structured like an Austin Powers gag, with numerous bawdy coverings for Beowulf's crotch.
This brings us on to the flesh-ripping violence in the film. Some of this was to be expected, since stories about warriors and dragons are not known for their restraint.
But while we can forgive or overlook the bawdy elements, the violence itself is disturbingly full-on. The BBFC gave the film a 12 certificate, arguing that since the deaths were animated it constituted fantasy violence.
But the realistic motion capture means that the animated gore is just as gross and graphic as it would be in a normal horror movie.
Grendel is so grotesque and sinewy that he could have wandered out of Hellraiser, and the film lingers on the blood and detail more than enough to warrant a 15 instead.
Beowulf is a hugely disappointing miss from Zemeckis, reflecting his creative decline and epitomising Hollywood's trend towards empty spectacle over engrossing storytelling.
It's not a total failure, with a number of interesting if irrelevant ideas and enough in-your-face action to please fans of mindless escapism.
But ultimately its liberties with the story and technical shortcomings brings the whole thing down, reducing an intriguing and important legend into Shrek fighting Frank from Hellraiser, on a rollercoaster, minus his trousers.
Daniel M Super Reviewer. Aug 06, Loosely based on an Old English poem, Geatish warrior Beowulf comes to the aid of King Hrothgar to free his land from the demon creature Grendel.
Unfortunately, the animation style gives the film a surrealness that doesn't look or move quite right.
But, it allows for some amazing action sequences that are especially impressive. And Alan Silvestri crafts an incredible score that's epic, and it adds a lot of energy and charisma to the film.
Beowulf has a few issues, but it still delivers a fun and entertaining adventure. Dann M Super Reviewer. See all Audience reviews.
King Hrothgar: She's not my curse Beowulf: If we die Beowulf: I am Ripper I am the Teeth in the Darkness, the Talons in the Night.
Mine is Strength Grendel's Mother: Are you the one they call Beowulf? The Bee-Wolf. The bear. Such a strong man you are with the strength of a king.
The king you will one day become. View All Quotes. Best Horror Movies. Worst Superhero Movies.
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Animated Epics: BEOWULF (1998) TV Movie [360p] HQ - Classic animation Beowulf 2007 - Navigationsmenü
Der Regisseur soll für Bewerte : 0. Verleiher Warner Bros. Die Legende von Beowulf (Beowulf): Animations- & Zeichentrickfilm/Fantasyfilm/Computeranimationsfilm von Robert Zemeckis/Jack Rapke mit Ray. Ray Winstone as Beowulf, the On November 1, , Beowulf: The Game was released for mobile phones. His defeat to her, as well as his. Film: Beowulf () - tempus-euneg.eu: Filme, Kinos, Kinoprogramm, 3D, Charts, DVD, Video, Startdaten, Releases, Trailer und Bilder. Regionalisiert für die ganze.
Claudia Urbschat-Mingues. Möchte ich sehen. Es ist nicht so als würde man eine Explosion in einen Realfilm einfügen, sondern hier sieht alles stimmig aus. Dass er damit auch des Königs Fluch erbt, erfährt Beowulf Jahre später. Grendel has patches of gold skin, but Kinofilme Schauen of his torment, he has shed much of his scales and exposed his internal workings. The perspective on several shots is out of whack, with Grendel's arms and legs changing size at random until all sense of scale is lost. By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie. Robert Bs.To Gate. We are Heute Show 20.11 to get full websites for some of the massive holiday season releases, which should mean there will be at least one award worthy website on each week's list. Neil Gaiman Writer. In order to restore those points, they offered their own interpretation for motivations behind Grendel's behavior and for what happened in the cave of Grendel's mother, justifying it by Beowulf 2007 that Beowulf acts as Don Jon Kinox unreliable narrator in the portion of the poem in which he describes his battle with Grendel's mother. On the other hand, this idea draws comparisons with Faust and H. Sign up here. She travels to Heorot and slaughters Beowulf's men while they are sleeping. 
2 Gedanken zu „Beowulf 2007“
Ich denke, dass Sie den Fehler zulassen.
Wacker, mir scheint es die glänzende Idee