The Odyssey review: A star‑studded saga of guilt and glory
Christopher Nolan’s ‘The Odyssey’ updates the ancient text to deliver a contemporary message nestled in action.
Many of the great classic novels are public domain, making them free source material for adaptations and re-imaginings. Of course, filmmakers rarely bring some of the best-known tales to the screen because doing so is exceptionally difficult. Avoidance may be due to the length of the saga, the vastness of the world or the unusualness of the characters. Then, a filmmaker comes along who accepts the challenge and sets out to make the seemingly impossible possible. That is the heavy task that accompanies writer-director Christopher Nolan’s adaptation of The Odyssey.
Odysseus (Matt Damon) has not seen his home in Ithaca for 20 years. He left his wife, Penelope (Anne Hathaway), and son, Telemachus (Tom Holland), for the battle at Troy and never came back. Following their victory, his journey was wracked with tragedy, sabotaged by the immortals he encountered and the gods above. In the meantime, suitors wishing to marry Odysseus’ wife and assume his throne plague his house. They gorge on his livestock and consume his wine, while Penelope sobs and prays for her husband’s return. The goddess Athena (Zendaya) finally takes pity on the king, helping Odysseus return and take vengeance on the admirers devouring his house.
The film opens with the quote, “A time of apparent magic,” which is fitting of the source material. However, Nolan’s script removes most of the mysticism from the story. It feels too grounded in mortal matters, even with the sprinkled meetings with fabled beings. Athena only appears in her true form throughout the narrative, foregoing any disguises to guide Odysseus on his journey. Although he and his crew curse and pray to Zeus and Poseidon, their interference is only assumed — never confirmed. Instead, it feels like these unscientific people are blaming the gods for natural phenomena and bad luck, where in the book Homer makes it clear these events are acts of the gods.
To that end, the story is greatly simplified. Nolan converts the original prose to modern dialogue, spoken in American accents. This change is inevitable to make the film accessible. However, Telemachus calling Penelope “mom” feels weird even in the context of a contemporary script.
The picture features all the major stops in Odysseus’ journey, from the man-eating Cyclops to the deceitful witch, Circe (Samantha Morton). However, Nolan alters the story to make Odysseus the steadfast hero, always ready for a fight. Consequently, he also shifts the focus of these confrontations to the action. Where negotiation and wit once prevailed, Odysseus now uses threats and brute force. The result is a glossy spectacle of swordfights and monster encounters that is sure to keep audience’s attention.
One of the striking aspects of Homer’s story is the openness with which the characters show their emotions. The men are often overcome, weeping over their lost comrades and dire straits. Instead, the film displays a more contemporary representation of masculinity and finds other ways to express Odysseus’ vulnerability. Devising the Trojan horse strategy that won the war deeply troubles him. Moreover, flashbacks point to a more familiar suffering by soldiers experiencing profound guilt and PTSD from their service.
This is all tied to another basic element from the book that’s promoted to one of the film’s key themes: Zeus’ law. It states hosts must show strangers hospitality, including food, shelter and safe passage, because they could be gods in disguise. Equivalent to the Golden Rule, this law is central to the narrative as many cite it to justify their actions. The suitors, in particular, use it to their advantage, preventing Penelope and Telemachus from throwing them out. But they almost mention it too often. And it’s rather telling of the current state of affairs that they need to rationalize acts of kindness so frequently.
Audiences will be excited by the depiction of the famed Trojan horse since it can be difficult to imagine how such a feat was accomplished. Homer provides minimal details, so this development is welcome. Similarly, most of the omissions, particularly the long-winded lies Odysseus tells to conceal his identity, are acceptable to keep the runtime at an already generous three hours.
However, there is a sense that the adaptation lacks some of the original substance. Specifically, excluding the prominence of ceremonies, tributes and customs among the Greeks undercuts the importance of adhering to Zeus’ law. If the gods don’t play a significant role in their lives, why fear disobeying this specific rule?
The stirring special effects and strikingly fitting costumes invite viewers into this fantastic world. But the stellar cast is the film’s greatest success. Damon once again dons ancient armour and brandishes medieval weapons. With an uncharacteristically gravelly voice, he recounts his journey to the nymph, Calypso (Charlize Theron). Theron excels in looking like a goddess, while also concealing how painful it is for Calypso to help Odysseus find his way home. Zendaya also glows, often appearing silent and only delivering Odysseus a message via her expression. But Hathaway is the woman to outshine them all with an exceptionally moving performance. She portrays unwavering devotion, which she shows through her never-ending rejection of the suitors and a sincere river of tears.
John Leguizamo plays the loyal pig farmer, who has a surprisingly prominent role. But Nolan’s choice to make the character blind is puzzling, except perhaps to better explain his inaction on his king’s behalf. Elliot Page’s soldier role is also invented to add another emotional path for Odysseus in the narrative. Meanwhile, Robert Pattinson portrays Antinous, the lead suitor and a villain made more monstrous than any of the movie’s killer giants.
With the new age of television and streaming, Odysseus’ journey could have been an epic limited series. Of course, it may have been less likely to attract a $250 million budget, Nolan and the star-studded cast, which also includes Jon Bernthal, Corey Hawkins, Mia Goth, Himesh Patel, Benny Safdie, Ryan Hurst, Will Yun Lee and Travis Scott. So instead, the filmmaker treats audiences to a streamlined, more accessible version of the Greek saga with a modern-day message about the consequences of war and the loss human decency.
Director: Christopher Nolan
Starring: Matt Damon, Tom Holland and Anne Hathaway
