The Odyssey

 

Should you brush up on your Homer before seeing this summer's megahit THE ODYSSEY, the latest megamovie from writer/director Christopher Nolan?  Not necessary.  Whether or not the eighth century B.C. epic was on your high school required reading list, Nolan has made his version entirely accessible.  Problem is, while his visuals are as arresting, commanding, what-have-you as ever, he feels the need to reiterate the story at every opportunity.  Continuous exposition, and it gets wearying.  Even more so than the nearly three hour runtime, filled with pummeling action scenes and a repetitive score, which like most everything else is very loud.

These are criticisms I've leveled at Nolan's films in the past.  And, they are not deal breakers.  Christopher Nolan is as big of a director as you will get these days.  His films are of the widest scope, the grandest ambitions.  But while I'm nitpicking, perhaps those ambitions could've led him to require his cast to learn Greek.  The dialogue sounds awfully contemporary at times.  There are even a few F-words for good measure.  Was that a studio note from Universal?

Maybe not, but the casting certainly was.  Those complaining that Greek actors should've filled these roles perhaps don't realize how Hollywood works.  Even in these very different times, big stars open and sustain a picture.  Would this umpteenth telling of this most ancient of tales have made a billion dollars with unknowns? Doubtful.

King Odysseus (Matt Damon) spends decades away from his homeland of Ithaca, lost on his way home from the Trojan War - a brutal siege that haunts his memories.  He is constantly tormented, guilt ridden for leading his men to certain death.  Most significantly, Sinon (Elliot Page), sacrificed on the beach right outside the Trojan horse.  Odysseus will face him during a trip to Hades.  To me, Page delivers the finest acting in THE ODYSSEY, especially during this scene.

I also liked Anne Hathaway's performance as Penelope, Odysseus' wife, forever awaiting his return and fighting off multiple suitors, including Antinous (Robert Pattinson), a slimy manipulator and schemer.  She has a classic beauty that suits this chestnut, and the actress portrays just the right urgency.  Lupita Nyong'o has a few impressive moments as both Helen of Troy and Clytemnestra. Samantha Morton is well cast as the witch Circe; her scenes with Odysseus and his crew are some of the best in the movie, and demonstrate that Nolan may have a flair for horror. 

Damon, in at least his third Nolan movie, is earnest and credible.  Maybe more likable than Homer's character.  Certainly not the first person I would think of for the role.  Here's another film where he's just trying to get back home (see also: THE MARTIAN, SAVING PRIVATE RYAN).  Most audiences need someone to root for, and he always fits that bill. 

Of course the real star of this adaptation is Chris Nolan.  While his screenplays are always imperfect, with said tendency to reiterate things a bit too often, he is one of the few filmmakers left who gives a damn about analog film and practical effects. I love his embrace of old school animatronics and puppetry.  That cyclops! THE ODYSSEY, you may be aware, is the first ever film shot entirely in 70mm IMAX.   Regrettably, I did not get down to Ft. Lauderdale to see it on that proper six story high IMAX screen, as I did Nolan's previous, OPPENHEIMER.  Showings are sold out for some time. I couldn't wait any longer and saw it locally, in the 2.39:1 ratio.  It still looked amazing.  Hoyte van Hoytema's photography is often astonishing.

Ludwig Goransson's repetitive, percussive score did become irritating after awhile, but does create suitable tension.

THE ODYSSEY is essentially a contemporary action film, complete with an extended JOHN WICK-like climax.  No complaints, other than I wish Nolan had made his film more poetic.  You know, like Homer did.