Beowulf (2007 film)

Film by Robert ZemeckisTemplate:SHORTDESC:Film by Robert Zemeckis

Theatrical release poster

***Beowulf*** is a 2007 American computer-animated fantasy action film produced and directed by Robert Zemeckis, written by Neil Gaiman and Roger Avary, based on the Old English epic poem Beowulf, and featuring the voices of Ray Winstone, Anthony Hopkins, Robin Wright Penn, Brendan Gleeson, John Malkovich, Crispin Glover, Alison Lohman, and Angelina Jolie. The film depicts the rise and fall of warrior Beowulf after he travels to Denmark to kill a monster. It was produced by Shangri-La Entertainment and Zemeckis' ImageMovers and features characters animated using motion-capture animation, which was previously used in ImageMovers' *The Polar Express* (2004) and *Monster House* (2006).

*Beowulf* premiered at Westwood, Los Angeles on November 5, 2007 and was released theatrically in the United States on November 16, 2007 by Paramount Pictures, with Warner Bros. Pictures handling international distribution. It received moderately positive reviews from critics, who complimented the CGI visual-effects, performance-capture, and voice acting, while criticizing aspects of the interpretation of the poem. The film underperformed at the box office, having earned only $196.4 million on a $150 million production budget (not including marketing costs).

## Plot

In 507, the legendary Geatish warrior Beowulf travels to Denmark with his band of soldiers including his best friend Wiglaf to help King Hrothgar, who needs a hero to slay Grendel, a hideously malformed troll-like creature with insuperable strength and cunning who attacked and killed many of Hrothgar's warriors during a celebration in the mead hall Heorot. Upon arriving, Beowulf becomes attracted to Hrothgar's wife Queen Wealtheow.

The men celebrate in Heorot to lure Grendel out while Beowulf strips naked and relaxes so that when the beast attacks, they can have a fair and equal fight. During the fight, Beowulf discovers that Grendel has hypersensitive hearing and ruptures the creature's eardrum. Grendel shrinks in size and manages to escape only after Beowulf severs his arm, mortally wounding him. In thanks for freeing his kingdom from the monster, Hrothgar gives Beowulf his golden drinking horn, which commemorates Hrothgar's victory over the mighty dragon Fafnir.

In his cave, Grendel's mother swears revenge over his corpse. She travels to Heorot and slaughters Beowulf's men in the night. Hrothgar tells both Beowulf and Wiglaf that Grendel's mother is the last of the Water Demons. Hrothgar's adviser, Unferth, offers Beowulf his sword Hrunting to slay Grendel's mother. Beowulf and Wiglaf then travel to the demon's cave, where Beowulf enters alone and encounters the demon, who takes the form of a beautiful, gold-covered naked woman. He tries to kill her with Hrunting but fails due to her magic. Instead, she seduces him with promises to make him king in exchange for the drinking horn and a son to replace Grendel, which Beowulf agrees to when they both kiss. Afterwards, Beowulf returns to Heorot with Grendel's head and announces he has killed Grendel's mother.

He recounts embellished stories of a fight, claiming he left the sword impaled in the body of Grendel's mother and lost the golden drinking horn in the battle. Hrothgar speaks to Beowulf privately, and asks if he truly killed Grendel's mother. Despite Beowulf's boasting and calling Grendel's mother a 'hag', Hrothgar is not fooled. Hrothgar says all that matters is that Grendel is dead and the curse of Grendel's mother is no longer his to bear. He indirectly reveals that he had also been seduced by the demon, and Grendel was the result of their tryst. Beowulf is shocked upon realizing Hrothgar is Grendel's father and that the curse has now been passed on to him after his affair with the demon. Hrothgar declares Beowulf to be king upon his death and he commits suicide by jumping from the castle parapet onto the beach below. Grendel's mother appears as a gold light in the surf and drags Hrothgar's corpse into the sea as the crowd kneels to the newly crowned King Beowulf, fulfilling their bargain.

Fifty years later, the elderly Beowulf is the estranged husband of Wealtheow, who has converted to Christianity. Beowulf has a mistress, Ursula, but his tryst with Grendel's mother has left him sterile to both his wife and mistress. On the anniversary of Beowulf's victory against Grendel, Unferth returns the golden drinking horn, which his slave had found on the moors. That night, a nearby village is destroyed by a dragon, which then transforms into a golden figure, who orders Unferth to give a message to King Beowulf, the dragon's father: the sins of the father have returned to him (referencing the Faustian bargain curse cycle, which Wealtheow knows about). Afterwards, Beowulf privately confesses to Wealtheow about his affair with Grendel's mother and they reconcile.

Beowulf and Wiglaf go to the cave once again, and Beowulf enters alone. When Grendel's mother appears, Beowulf throws her the golden horn, but she refuses it and the dragon attacks Beowulf's castle, threatening Wealtheow and Ursula. Despite his age, Beowulf goes to great lengths to stop the dragon. Beowulf is mortally wounded in the struggle, but manages to kill the dragon by ripping its heart out, and he and the creature tumble to the rocky beach below the castle. The dragon transforms into its golden humanoid form, before being washed out to sea. Before he dies, Beowulf tries to tell Wiglaf the truth about his affair with Grendel's mother and acknowledge his son, but Wiglaf insists on keeping his legacy intact.

As the new king, Wiglaf gives Beowulf a Norse funeral. Wiglaf finds the golden horn in the sand and sees Grendel's mother give Beowulf a final kiss as his burning ship sinks into the sea. Grendel's mother slowly rises to the water's surface and seductively beckons Wiglaf towards her. He wades into the sea, while holding the golden drinking horn, before pausing halfway in the surf. They both stare at each other, with Grendel's mother seductively waiting and Wiglaf clearly tempted.

## Cast

* Ray Winstone as Beowulf, the title character. Zemeckis cast Winstone after seeing his performance as the title character of the 2003 ITV serial *Henry VIII*. On the topic of the original poem, Winstone commented during an interview, "I had the beauty of not reading the book, which I understand portrays Beowulf as a very one-dimensional kind of character; a hero and a warrior and that was it. I didn't have any of that baggage to bring with me." Winstone enjoyed working with motion-capture, stating that "You were allowed to go, like theater, where you carry a scene on and you become engrossed within the scene. I loved the speed of it. There was no time to sit around. You actually cracked on with a scene and your energy levels were kept up. There was no time to actually sit around and lose your concentration. So, for me, I actually really, really enjoyed this experience." Unlike some of his castmates, Winstone's animated counterpart bears little resemblance to the actor who was in his early 50s when he filmed the role; Winstone noted that his computer-generated counterpart resembled himself at the age of eighteen, although the filmmakers did not have a photo for reference. Winstone also played a dwarf performer, and the "Golden Man"/Dragon.
* Crispin Glover and Angelina Jolie as Grendel and his mother, the antagonists. Glover had previously worked with Zemeckis in *Back to the Future* when he portrayed George McFly. Zemeckis had found Glover tiresome on set, because of his lack of understanding of shooting a film, but realized this would not be a problem as on a motion-capture film he could choose his angles later. Glover's dialogue was entirely in Old English. Jolie had wanted to work with Zemeckis, and had read the poem years before but could not remember it well until she read the script and was able to recall basic themes. The actress recounted her first impression of her character's appearance by saying "... I was told I was going to be a lizard. Then I was brought into a room with Bob, and a bunch of pictures and examples, and he showed me this picture of a woman half painted gold, and then a lizard. And, I've got kids and I thought 'That's great. That's so bizarre. I'm going to be this crazy reptilian person and creature.'" Jolie filmed her role over two days when she was three months pregnant. She was startled by the character's nude human form, stating that for an animated film "I was really surprised that I felt that exposed."
* Anthony Hopkins as King Hrothgar. Hopkins noted in an interview that since Zemeckis is an American, he wasn't certain what accent Hopkins should use for the role of Hrothgar. Hopkins told him, "Well, Welsh would be my closest because that's where I come from." It was also his first time working with motion capture technology. Hopkins noted, "I didn't know what was expected. It was explained to me, I'm not stupid, but I still don't get the idea of how it works. I have no idea [...] you don't have sets, so it is like being in a Brecht play, you know, with just bare bones and you have nothing else." When asked if he had to read the original poem of *Beowulf* in school, Hopkins replied: "No, I was hopeless at school. I couldn't read anything. I mean I could read, but I was so inattentive. I was one of those poor kids, you know, who was just very slow, didn't know what they were talking about... So I tried to get around to reading *Beowulf* just before I did this movie, and it was a good modern translation. It was Trevor Griffiths, I'm not sure, but I couldn't hack it, and I tend to like to just go with the script if it's a good script."
* John Malkovich as Unferth. Malkovich became involved in the project because one of his friends, who had worked with Zemeckis, "spoke very highly of him. I had always found him a very interesting and innovative filmmaker. I liked the script very much and I liked the group involved and the process interested me a great deal also." He found the experience of working with motion capture to be similar to his experiences working in the theater. He also found the process intriguing: "Say you do a normal day of filmmaking. Sometimes that's 1/8 of a page, sometimes it's 3/8th of a page, normally let's say it's 2½ pages, maybe 3. Now it's probably a little more than it used to be but not always. So you may be acting for a total of 20 minutes a day. In this, you act the entire day all the time except for the tiny amount of time it takes them to sort of coordinate the computer information, let's say, and make sure that the computers are reading the data and that you're transmitting the data. It interests me on that level because I'm a professional actor so I'd just as soon act as sit around." Malkovich also recalled that he studied the original poem in high school, and that "I think we got smacked if we couldn't recite a certain number of stanzas. It was in the Old English class and I think my rendition was exemplary."
* Brendan Gleeson as Wiglaf, Beowulf's lieutenant
* Robin Wright Penn as Queen Wealtheow
* Alison Lohman as Ursula, Beowulf's concubine when he is an old king
* Costas Mandylor as Hondshew
* Sebastian Roche as Wulfgar
* Greg Ellis as Garmund
* Tyler Steelman as Young Cain, Unferth's disabled slave
* Dominic Keating as Adult Cain
* Rik Young as Eofor
* Charlotte Salt as Estrith
* Leslie Harter Zemeckis as Yrsa
* Fredrik Hiller as Finn of Frisia

## Production

### Animation and visual effects

Zemeckis drew inspiration for the visual-effects of *Beowulf* from experience with *The Polar Express*, which uses motion-capture technology to create three-dimensional CGI images of characters. Appointing Jerome Chen, whom Zemeckis worked with on *The Polar Express*, the two decided to chart realism as their foremost goal.

Animation supervisor Kenn MacDonald explained that Zemeckis used motion capture because "Even though it feels like live-action, there were a lot of shots where Bob cut loose. Amazing shots. Impossible with live-action actors. This method of filmmaking gives him freedom and complete control. He doesn't have to worry about lighting. The actors don't have to hit marks. They don't have to know where the camera is. It's pure performance." A 25 × 35-foot stage was built, and it used 244 Vicon MX40 cameras. Actors on set wore seventy eight body markers. The cameras recorded real-time footage of the performances, shots which Zemeckis reviewed. The director then used a virtual-camera to choose camera angles from the footage which was edited together. Two teams of animators worked on the film, with one group working on replicating the facial performances, the other working on body movement. The animators said they worked very closely on replicating the human characters, but the character of Grendel had to be almost reworked, because he is a monster, not human.

Over 450 graphic designers were chosen for the project, the largest team ever assembled for a Sony Pictures Imageworks-produced movie as of 2007. Designers at Imageworks generated new animation tools for facial, body and cloth design especially for the movie, and elements of keyframe animation were incorporated into the film in order to capture the facial expressions of the actors and actresses. The mead hall battle scene near the beginning of the film, among others, required numerous props that served as additional markers; these markers allowed for a more accurate manifestation of a battlefield setting as the battle progressed. However, the data being collected by the markers slowed down the studios' computer equipment and five months were spent developing a new save/load system that would increase the efficiency of the studios' resources. To aid in the process of rendering the massive quantities of information, the development team used cached data. In the cases that using cached data was not possible, the scenes were rendered using foreground occlusion, which involves the blurring of different overlays of a single scene in an attempt to generate a single scene film.

Other elements of the film were borrowed from that of others created by Imageworks: *Spider-Man 3* lent the lighting techniques it used and the fluid engine present in the Sandman, while the waves of the ocean and the cave of Grendel's mother were modeled after the wave fluid engine used in *Surf's Up*. The 2007 film *Ghost Rider* lent *Beowulf* the fluid engine that was used to model the movements of protagonist Johnny Blaze. Jerome Chen worked to process large crowd scenes as early as possible, as additional time would be needed to process these scenes in particular. As a result, the film's development team designed a priority scale and incorporated it into their processors so graphic artists would be able to work with the scenes when they arrived.

So much data was produced in the course of the creation of the film, the studio was forced to upgrade all of its processors to multicore versions, which run quicker and more efficiently. The creation of additional rendering nodes throughout Culver City, California was necessitated by the movie's production. Mark Vulcano, who had previously worked on *VeggieTales* and *Monster House*, served as Senior Character Animator for the film.

In designing the dragon, production designer Doug Chiang wanted to create something unique in film. The designers looked at bats and flying squirrels for inspiration, and also designed its tail to allow underwater propulsion. As the beast is Beowulf's son with Grendel's mother, elements such as Winstone's eyes and cheekbone structure were incorporated into its look. The three primary monsters in the film share a golden color scheme, because they are all related. Grendel has patches of gold skin, but because of his torment, he has shed much of his scales and exposed his internal workings. He still had to resemble Crispin Glover though: the animators decided to adapt Glover's own parted hairstyle to Grendel, albeit with bald patches.

Zemeckis insisted that the character Beowulf resemble depictions of Jesus, believing that a correlation could be made between Christ's face and a universally accepted appeal. Zemeckis used Alan Ritchson for the physical model, facial image and movement for the title character of *Beowulf*. Avary had the idea to make Beowulf fight Grendel naked as a reference to Richard Corben's comic book *Den*, while also taking inspiration from legendary berserkers, who purportedly fought in battles while naked.

### Music

*Main article: Beowulf (soundtrack)*
The music for *Beowulf* was composed and conducted by Alan Silvestri. A soundtrack was released November 20, 2007. Silvestri was largely responsible for the production of the soundtrack album, although actresses Robin Wright Penn and Idina Menzel performed several songs in the soundtrack's score.

## Differences from the poem

Template:Blockquote

One objective Zemeckis, Gaiman and Avary shared was to expand on the original poem as it has been recorded. *Beowulf* is generally considered to be a pagan tale written down by Christian monks, which for Zemeckis and Avary represented the possibility that the original story had been tampered with in order to better fit Christian sensibilities. They found this to be a reasonable explanation for critical elements to the story that are absent from the poem, such as the identity of Grendel's father, why he abstains from attacking Hrothgar, and the lack of proof that Grendel's mother had been slain.

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 arguing that Beowulf acts as an unreliable narrator in the portion of the poem in which he describes his battle with Grendel's mother. Avary said their goal was "to remain truer to the letter of the epic but to read between the lines and find greater truths that had been explored before," while Gaiman commented, "the glory of *Beowulf* is that you are allowed to retell it" due to the presence of many other adaptations that offered their own take on it.

These choices also helped them to better connect the third act to the second of their screenplay, which is divided in the poem by a 50-year gap.

Some of the changes made by the film as noted by scholars include:

* The portrayal of Beowulf as a flawed man
* The portrayal of Hrothgar as a womanizing alcoholic
* The portrayal of Unferth as a Christian
* The portrayal of Grendel as a sickly-looking and child-like creature (somewhat similar to Tolkien's Gollum character), rather than a savage demon-monster
* Beowulf's funeral
* The portrayal of Grendel's mother as a beautiful seductress, more of a succubus rather, who bears Grendel as Hrothgar's child and the dragon as Beowulf's child (this is also the case in the plot of the 1999 film *Beowulf*, with the exception that the dragon is entirely absent there)
* The fact that Beowulf becomes ruler of Denmark instead of his native Geatland

This is not the first time that the theme of a relationship between Beowulf and Grendel's mother was explored by Gaiman. In his 1998 collection of short stories, *Smoke and Mirrors*, the poem *Bay Wolf* is a retelling of Beowulf in a modern-day setting. In this story, Beowulf as the narrator is ambiguous about what happened between Grendel's mother and himself.

## Themes

Drawing extensively on the theories of Freud, Kristeva, Lacan and Jung, as well as Žižek, many scholars have discussed the themes of the film.  In particular, the portrayal of Grendel and his kin appeals to multiple forms of sexual unease, among them the castration anxiety, the monstrous feminine and the challenging of traditional gender roles. According to Nickolas Haydock, the film reflects the "American obsession with sex as the root of all evils," to the extent to compare Beowulf's and Hrothgar's portrayals to Bill Clinton and the history of sexual misconduct that caused his political decline. Nadine Farghaly also argues the story makes the point that unbridled desire only causes ruin.

Grendel's mother is represented in the film as a castrating, monstrous female who threatens masculinity. While Beowulf embodies phallic power through his physical strength, recurrent nudity and usage of a sword, all those prove useless against her, as she symbolically emasculates him by subsuming his phallus into the feminine power. This is metaphorized by Beowulf being seduced in her womb-like cave, where his sword strike magically fails at harming her body. After copulating with Grendel's mother, both Hrothgar and Beowulf find themselves unable to maintain fulfilling sexual relationships with Wealtheow or other women, becoming aged, bitter and even feminized in their impotency. In turn, Grendel's mother remains immortal and young, and through her offspring she proves capable to wield herself the robbed phallus. Grendel and the dragon act as extensions of her will, "mindless embodiments of feminine aggressiveness" who represent their fathers' emasculation and loss of patriarchal power.

Later Beowulf claims to have vanquished the mother, having supposedly rendered her dead with his sword in her cave, but the falsity of this only translates as a wishful, pretended triumph of the male over the female. His defeat to her, as well as his bargain for prestige and glory, transmits that male power "not only comes from the feminine, but remains eternally subject to it." However, authors have noted that he ultimately breaks the Oedipian triangle caused by his destructive son, as he manages to kill the dragon and seemingly thwart the cycle at the cost of his life. This has been interpreted as a last exaltation of masculinity, electing to die in self-sacrifice rather than living in his impotent, feminized state. He refers to himself as already "dead long time ago" in a previous scene. The film still underline the irresistibility of female power, as even Wiglaf, who had been shown to be abstinent from lust in contrast to his partners, is hinted to be similarly seduced by Grendel's mother.

The film contrasts those points to the original poem, using the "postmodern techniques of metatextuality and deconstruction". Whereas in the poem the heroic values of ancient warrior culture is reaffirmed, in the film it is shown to be in decline, even explicitly failing along with Beowulf. In the film, the character laments the old, heroic pagan religion is being replaced by Christianity, "leaving humankind with nothing but weeping martyrs, fear, and shame." In the poem Beowulf slays Grendel's mother and defeats her challenge on gender roles, but her film version is victorious over him, also using seduction instead of strength, which updates the ways in which the story views female power. The gold covering her skin and the Faustian bargain she offers embody similar modern views on the relationship between wealth and sex, particularly societal compulsions to enjoy them at the fullest, "not prohibited but demanded, which becomes a postmodern variation of Freud's death wish".

However, the main difference from the poem is portraying Beowulf as a flawed hero destroyed by his own negative qualities, like lust for power and unchecked male desire, which raises questions about the morality underlying heroism. Despite the superficial characterization of the Water Demons as Others, the film blurs the line between heroes and monsters, as Grendel can talk, and the dragon's human form resembles Beowulf himself, representing his repressed wishes. In turn, Beowulf and Hrothgar are rendered impotent just like Grendel, who lacks genitalia altogether, and then Beowulf ends up losing an arm like Grendel does. At the end, although the men from the film pretend to be champions against demonkind, they are ultimately revealed to be only its very originators.

## See also

* Lists of historical films
* Late antiquity
* Germanic Heroic Age

## References

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1. ↑ 1.0 1.1 [TBA Beowulf]. *Box Office Mojo*.
2. ↑ Cite error: Invalid `<ref>` tag; no text was provided for refs named `empire`
3. ↑ 3.0 3.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Rob Carnevale (November 12, 2007). [TBA "Beowulf"] Check `|url=` value (help). BBC. Retrieved November 16, 2007. Check `|archive-url=` value (help)
4. ↑ 4.0 4.1 4.2 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Sheila Roberts. [TBA "Cast of Beowulf Interview"] Check `|url=` value (help). Movies Online. Retrieved November 8, 2007. Check `|archive-url=` value (help)
5. ↑ [TBA Becoming Beowulf] (July 25, 2007).
6. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Sheila Roberts. [TBA "Anthony Hopkins Interview, Beowulf"] Check `|url=` value (help). Movies Online. Retrieved November 13, 2007. Check `|archive-url=` value (help)
7. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Sheila Roberts. [TBA "John Malkovich Interview, Beowulf"] Check `|url=` value (help). Movies Online. Retrieved November 13, 2007. Check `|archive-url=` value (help)
8. ↑ 8.0 8.1 8.2 8.3 8.4 8.5 8.6 8.7 8.8 8.9 [TBA Beowulf: A New Hybrid for an Old Tale]. *VFXWorld*. AWN, Inc. (2007).
9. ↑ 9.0 9.1 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Barbara Robertson (November 28, 2007). [TBA "Beowulf Effects"] Check `|url=` value (help). CG Society. Retrieved May 28, 2018. Check `|archive-url=` value (help)
10. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Sheigh Crabtree (November 4, 2007). [TBA ""Beowulf" breathes fire into a new kind of dragon"] Check `|url=` value (help). *Los Angeles Times*. Retrieved November 8, 2007. Check `|archive-url=` value (help)
11. ↑ [TBA Jerome Chen Talks Beowulf VFX Oscar Potential]. *VFXWorld*. AWN, Inc. (2007).
12. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Mike Gencarelli (October 12, 2010). [TBA "Interview with Alan Ritchson"] Check `|url=` value (help). *Media Mikes*. Retrieved February 23, 2014. Check `|archive-url=` value (help)
13. ↑ 13.00 13.01 13.02 13.03 13.04 13.05 13.06 13.07 13.08 13.09 13.10 13.11 13.12 13.13 Error on call to Template:cite web: Parameters **url** and **title** must be specified.Template:Page needed
14. ↑ [TBA Beowulf Soundtrack: Alan Silvestri: Music]. *Amazon.com* (2007).
15. ↑ 15.0 15.1 15.2 15.3 15.4 15.5 Error on call to Template:cite web: Parameters **url** and **title** must be specified.Template:Page needed
16. ↑ [TBA Neil Gaiman and Roger Avary: Shaping Beowulf's story, video interview]. STV.
17. ↑ 17.0 17.1 17.2 Error on call to Template:cite web: Parameters **url** and **title** must be specified.
18. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Jeremy Smith (July 30, 2007). [TBA "Interview: Neil Gaiman and Roger Avary (Beowulf)"] Check `|url=` value (help). CHUD. Retrieved November 7, 2007. Check `|archive-url=` value (help)
19. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Quinn, Walter (November 23, 2007). [TBA ""Beowulf" movie takes poetic license — and then some — from the original text"] Check `|url=` value (help). *Pittsburgh Tribune-Review*. Retrieved November 27, 2007. Check `|archive-url=` value (help)
20. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Duane Dudek (November 16, 2007). [TBA "The Real Beowulf"] Check `|url=` value (help). *Milwaukee Journal Sentinel*. Retrieved November 27, 2007. Check `|archive-url=` value (help)
21. ↑ Template:Cite magazine
22. ↑ 22.0 22.1 22.2 22.3 22.4 22.5 22.6 22.7 22.8 Error on call to Template:cite web: Parameters **url** and **title** must be specified.
23. ↑ 23.00 23.01 23.02 23.03 23.04 23.05 23.06 23.07 23.08 23.09 23.10 23.11 23.12 Error on call to Template:cite web: Parameters **url** and **title** must be specified.
24. ↑ 24.0 24.1 24.2 24.3 24.4 24.5 24.6 24.7 24.8 Error on call to Template:cite web: Parameters **url** and **title** must be specified.
25. ↑ 25.0 25.1 25.2 Template:Cite book

## External links

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* TBA
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* [TBA Beowulf Production Notes] Template:Webarchive
* Nick Haydock, "Making Sacrifices: Beowulf and Film," *[TBA The Year's Work in Medievalism]* 27 (2012).
* <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Paul Arendt (November 20, 2007). [TBA "Children's author Michael Morpurgo on 'Beowulf'"] Check `|url=` value (help). *The Guardian*.

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