Didn’t I review Beowulf a few weeks ago? Aha, well spotted, but that that was Beowulf, and this is Beowulf & Grendel; yes, as you survey months ahead without a single cinema release circa 2020, over a decade ago there was such a glut of cinema around that there were competing films based around Old English epic poetry. Millennials might find it hard to believe but there was a worldwide mania for Old English epic poetry in the first years of this century; you couldn’t sit down in a Seattle coffee shop for grungy West Saxon scholars. Alas, Robert Zemekis’s Beowulf was not a hit, and neither was Sturla Gunnarsson’s earlier effort as viewed here, and the focus moved to Marvel now that the vogue for Hrothgar interpretation has faded.
Critic Nathan Rabin, always a good canary-in-the-coalmine when it comes to this kind of film, described it as going ‘entertainingly awry’, but while the director admitted that pretty much every aspect of this film went ‘awry’ in a feature length documentary Wrath of Gods (2006), the result is defiantly entertaining. Firstly, it’s got a much better Beowulf in Gerry Butler, freshly graduated from Strathclyde University’s law department and in his absolute prime here. The warrior fights the monster Grendel, and his mother, but strangely the events that provide the inciting incident for Zemekis’s film are the climax here, with ensuing pacing issues. In fact, Beowulf and Grendel has quite a different take on the source material, humanising Grendel, who we see playing 10-pin bowling with human heads and passing the time before revenging the death of his father. Much more is made of the tribal issues that Beowulf, pumped-up on herring and egg, solves, notably Eddie Marsan as a religious leader. ‘Christ? I’ve heard of him,’ muses an unconverted heathen. ‘Did you ever have much luck with trolls?’ Such anachronistic dialogue promises and delivers laughs for sure, but it’s clear that everyone is in one the joke; everyone mumbles about ‘f**king trolls’ and Stellan Skarsgaard’s boozy king curses ‘No-one eve tells me anything!’ He’s a king who bemoans ‘I’m a king whose balls are ground up on Instagram’ although I may have mis-transcribed that line; no subtitles were available.
‘Where there is superstition, there is practice,’ is a more stimulating line that sticks in the mind here, suggestive of the film’s demythologising of the subject without removing the magic; this Beowulf isn’t given to CGI, but stunningly shot locations in and around which tiny figures run, a unique look that, from all accounts, exhausted cast and crew. More information on the trials and tribulations of the shoot can be gleaned from the detailed EPK interview with Butler on the last day on the shoot, sitting in his Winnebago in full costume looking like every inch a football star giving a post-match interview.
Beowulf & Grendel made $100,000 on a sixteen million dollar budget, quite a feat, and yet it is, by Rabin’s terminology, a secret success. It has a unique, authentic look, a striking take on superstition and religion as non-exclusive, and big, big performances from Butler and Sarah Polley, red of hair, lustrous of make-up and relishing every second as an Irish soothsayer. It’s no surprise this whole enterprise was caviar to the general; the two box quotes on the DVD offer the faintest of faint praise ‘Gerald Butler is perfectly cast,’ gushes cinematical.com while reel.com dishes out the superlatives with ‘the movie is better than the book’. Neither cinematical.com or reel.com exist now, even if they existed back then, so questions might be asked about the authenticity of these pull quotes; bizarrely, it’s easier to trace Old Norse epics than identifying reviewing websites of 15 years ago. Beowulf & Grendel is a knowing, underrated, revisionist take on a legend that comes up fresh, funny and far better than it’s reputation suggests. Much like the title character.
99p on Amazon Prime in the UK, go on, you know you want to…
Why do some truly great films fall into neglect? Reuben, Reuben is a perfect case in point. Tom Conti won an Oscar nomination for best actor in 1983 for his performance as a drunken poet, with Dylan Thomas a clear inspiration. The screenplay, adapted from a novel by noted humourist Peter De Vries and then a play called Spofford, is by Julius J Epstein, who wrote everything from Casablanca to Cross of Iron, and that was also Oscar nominated as one of the five best adapted scripts of the year. It was the first film of Top Gun star Kelly McGillis. And it’s a funny, sweet and yet harsh and original story about excess and survival that’s not dated in any way. And yet there’s no Criterion Collection revival, nor even a spot on Amazon or iTunes, just a rare DVD or Blu Ray that, at twenty bucks a piece, won’t ensnare many casual viewers. The reputation of Robert Ellis Miller, director of The Heart Is a Lonely Hunter and this, was practically zero when he died in 2017, and that’s a shame for anyone with career highlights like this. Conti is ideal as Gowan McGland, a Scottish poet in suburban American, seducing women, drinking excessively, generally mooching off everyone and unaware that his behaviour is leading to a sticky end, and not one that he can possibly imagine. The problem is more than sex or alcohol addiction. Like Ray Milland in The Man With X Ray Eyes, McGland’s problem is that he sees too much; his wit pulls people towards him, but then pushes them away. It’s a tragic-comedy of the highest order, and it’s well-past high time something was done about restoring the reputation of Reuben, Reuben, which takes its title from the old song, and from the last line of dialogue in a devastating, surprising final scene.
As gentle as the most soothing nature documentary, Jim Jarmusch’s Paterson is a minority interest film that will repel thrill-seekers, but slowly, carefully works up to some genuine magic for discerning audience. Adam Driver plays Paterson, a bus driver living in Paterson NJ; this co-incidence is the first in a series of dualities which infuse his everyday life. Glimpses of twins, the dreams of his partner Laura (
