by Nick Ferro, Editor
I don’t know who Christopher Nolan pissed off, but for the past year the internet conversations around his latest epic, The Odyssey, have been extremely heated and growing increasingly toxic. So many people stark-raving mad about a movie they had little actual information about, making assumptions or bigoted allegations regarding casting choices, costume design, set design, historical accuracy (of this fictional fantasy), or its use of modern language. Internet discourse can be hard to ignore, especially when certain trades use it to get clicks with any and all articles pertaining to the upcoming film littered with wild speculation.
I won’t lie; there was a level of “Odyssey fatigue” that I had going into the theater last night. Starting with my own personal skepticism surrounding Nolan’s ability to do justice to fantasy when his style is so rooted in “grounded reality.” But also, because, after Supergirl, which suffered the same, if not worse, internet discourse in addition to the consequences of such rhetoric with an abysmal box office. I had my own (non-misogynistic) reasons being disappointed in that film but couldn’t help but fear the same thing would happen with The Odyssey. I couldn’t shake the feeling as I sat down in front of the huge IMAX screen to watch in 70mm, the way Christopher Nolan intended.
The Odyssey is based on the well-known epic poem by Homer, of the ten-year journey home for Odysseus (Matt Damon) and his men after their victory in the Trojan war. Full of magic, monsters, and gods, this is a tale of a man being punished, not only by those aforementioned gods but also by himself. Odysseus is essentially a millennial who works for years to prove his worth at a pointless endeavor only to realize that the spoils of that work never were intended for the benefit of him or his people, but the utter destruction of their cherished way of life. He blames himself for this and doesn’t believe himself worthy of his men’s loyalty or trust the gods. He could easily live on a beach, inebriated by some strange substance to help him forget the horrors of life and war and loss and pain… But could he live with himself? Of course not. In a way Odysseus’ journey and self-doubt were incredibly relatable to this elder millennial and Damon’s portrayal was excellent. Fearful that I wouldn’t be able to see past the “Matt Damon” of it all, I couldn’t help but get lost in his performance throughout. However, surprisingly, Damon is never really the sole focus of this film. There was always so much going on around him that informed on his journey, but The Odyssey is truly an ensemble piece through and through.
One of the standouts for me, who stood by Odysseus’ side was his first officer Eurylochus (Himesh Patel). Patel and Damon had incredible chemistry throughout despite being often at odds with each other. A throughline of the movie was characters identifying trustworthiness by looking into each other’s eyes and Patel’s subtle acting left me often staring into his eyes and knowing exactly his mentality. Eurylochus loves his king, he spent years building a bond through friendship and loyalty and war. The love behind his eyes when he speaks with Odysseus is equal to the pain in his eyes when he sees Odysseus suffer. It’s even more apparent when he sees the struggle of a man who is at odds with his own psyche. Patel has always been an actor that I have admired, but here he is operating on another level.
Another big standout for me, and surprise, as I didn’t even know he was attached to the project, was John Leguizamo’s Eumaeus. This was a role that is so key to the story, the half-blind pig farmer and Odysseus’ most loyal servant. His unwavering loyalty combined with his wisdom gave Leguizamo an incredibly meaty part, different from other roles he’s taken in the past. His brief but important tutelage scene with Odysseus’ son Telemachus (Tom Holland) was incredibly key for two reasons. One it set up the audience’s understanding for how important Odysseus is to his own people. And two, it gave Holland a chance to, for the first time (in my opinion) break out from underneath the childlike role of Peter Parker and show us as an audience that he can also be a grown man. In a way this is the perfect role for him because it really showcases that he is capable of more mature roles despite his “fountain of youth” face. On a side note, Telemachus’ use of modern vernacular like “mom and dad,” did bug me. While I didn’t hate it, like some internet pedants, it just felt weird and an unnecessary unforced error on Nolan’s part.
Speaking of the face of youth, there is a character in the film named Sinon (Elliot Page) who plays a key role in Odysseus’ journey as well as his sorrow. I really liked Page’s performance in this very small part because he really did a lot with a little. This is a young boy who went off to war at what seemed to be nine years old only to die at the end of the war and add to the weight on Odysseus’ shoulders. Sinon’s circumstances play such a pivotal role by the end in shaping how Odysseus handles the third act conflict that I dare not spoil, as I found it to be very affecting. In addition to Sinon, Odysseus’s interactions with Athena (Zendaya) are some of the most important of the film, especially in the final two scenes with her. This character is 100% Nolan’s “big twist” moment. He always manages to do something that will make the audience gasp or be filled with understanding and the “reveal” of how important Athena’s message to Odysseus is will live in my brain rent free for quite some time.
Almost every actor in this movie is given something small to do, whether it be the incredibly talented and beautiful Lupita N’yongo, with a face that launched a thousand angry internet memes, who is doing double duty as Helen and her twin sister Clytemnestra. Her total of maybe five minutes of screen time was enough to mesmerize me in two separate moments as two separate characters with maybe less than 4 lines of dialogue. Or Charlize Theron as Calypso who’s small but important role is more meaningful than I had expected. And Samantha Morton, as Circe, manages to steal the entirety of the scene she is in by being both timid and terrifying all in the same breath, leaving me rather disturbed by the performance. Jon Bernthal as Menelaus, who is large, imposing, intimidating and despite his gruff exterior, kind with sad eyes hardened by war. And I would be foolish to not mention Robert Patinson’s Antinous who, if you look up “Punchable Face” in the dictionary, you will find his picture. He plays the weaseliest weasel to ever weasel and is the very definition of a character you love to hate. But the best performance in this film, for me, is by far Anne Hathaway as Odysseus’ wife Penelope.
Hathaway is giving a performance that transcends anything I have ever seen her do to date. Granted I did not get to see Mother Mary from earlier this year, which I hear is another groundbreaking performance from her, but to still be at the top of her game after decades in the industry makes my heart happy. She is powerful as Penelope. To be able to balance her grief, hope, and anxiousness all behind a mask exuding power and poise is honestly astounding. There are moments when her breath control is so focused that she subtly catches it and uses it to enhance her anger at a character. She is acting on a level that is akin to watching a master painter at work. Each stroke intentional, each decision made informing the next and the last leaving us with a final product that is simply exquisite and worthy of display.
I simply wish the script didn’t try to hamstring what I consider to be one of my favorite performances of the year. Hathaway’s dialogue was unfortunately, at times, quite on the nose, which she thankfully elevated making me almost forget how basic it felt. Nolan is not always the best when it comes to dialogue and script writing. He has so many other talents that I can forgive him in this one area but ultimately a movie on this epic of a scale should have been co-written with someone like his brother Jonathan as they have a proven track record of working so well together. Their finished products are always a one-two punch of excellent storytelling and movie making. Finding fault in The Odyssey though is like trying to get home from Troy after pissing off Poseidon… difficult. I have seen some people complaining about the sound mix, however, I did not find it to be that way (for once). In fact, I think Nolan’s very intentional use of sound, especially the volume at which he presented certain scenes was quite affecting. Especially the scene with the Cyclops.
I would perhaps argue that some scenes were too dimly lit. I was reminded more than once of that notorious Game of Thrones episode, however, having only seen it one time I can’t be sure that it wasn’t the theater I was in which caused the darker moments to be too dark. The rest of the movie did look beautiful though. Shot by long-time collaborator, cinematographer Hoyte van Hoytema, the visuals throughout are absolutely stunning and real. There were obviously instances of visual effects used; however, I couldn’t see them. They filmed in so many beautiful locations and that beauty is all over the screen, so for a few scenes lit by firelight alone to show up as too dark for me, is again, a minor quibble in an otherwise gorgeous presentation.
For the third movie in a row Ludwig Göransson crushes the score by delivering a perfect mix of tension building war drums, soft mournful tones for contemplative moments, and haunting sorrow that should fill you with emotion. In almost every scene the score blends perfectly to the point where you almost don’t realize it’s there while it still raises your emotions to fit the action. Yet in the scenes where Göransson wants you to notice the score, it will drive your anxiety through the roof and not allow you to breath until the events conclude. The final battle is an outstanding example of how the score crescendos until you don’t think you can take any more and then when it does eventually break, the feeling of relief that washes over you matches the characters on screen.
Can I talk for a minute about how this movie has two low key horror scenes? Because now that Nolan has shown he is capable of doing fantasy despite my unnecessary doubts, I want to see him tackle other genres. If the Cyclops and Cerci scenes weren’t the perfect audition for Nolan to take on a horror movie next, then I don’t know what is. I am not a horror guy, but if he can deliver a story on the level of his other work in a fantastical horror world of ghosts and demons then I am here for it!
The Odyssey is more than pure spectacle; it’s an experience of great filmmaking and is meant to be seen on the biggest screen with the best sound. While some movies like Oppenheimer are good to watch at home without losing much of the more spectacular moments meant for IMAX, The Odyssey is quite the opposite. There are only a few scenes where an IMAX screen isn’t needed. Almost every frame of this film looked large, imposing, and immersive thanks to the format. You will be doing yourself a disservice if you decide to wait for an at home experience or even opt for a smaller screen theater if IMAX or Dolby is available. This is truly a cinematic wonder meant to be seen at least one time as Nolan intended. I may have to buy a bigger tv and new sound system when this comes out on 4K later this year because to watch it any other way will feel lacking.
While not my favorite movie of the year, it is absolutely my favorite theater experience and only one of two technical masterpieces I have seen in a very, very long time. Nolan may not be at his best, but I believe his ability to be a leader in the industry allowed everyone else around him to be at their best, which lead to one fantastic adventure. Don’t punish yourself, go see The Odyssey as soon as possible! Just remember Zues’ Law and be sure to pay tribute to the gods so that your return journey home isn’t mired with peril.
Rating: High Side of Liked It
The Odyssey is currently playing in theaters.
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