It’s easy to forget that there are literal characteristics to call something “epic,” and it is fitting that one of the earliest epics ever in civilization would help better define it for modern eras. Heroic tales of gods and men that are often used for nation building/fortifying, traversing large swaths of time and land in their narrative, “epic” doesn’t just mean big or expensive or even impressive. Christopher Nolan’s “The Odyssey,” while also big and expensive and impressive, is a true epic (befitting as it adapts Homer’s poem) in its scope, content, and achievements. It is a genuine wonder to behold with outstanding filmmaking on display alongside some strong writing (by Nolan) and moving performances by the massive cast. It is not a perfect movie—there are small elements that don’t totally work—but “The Odyssey” is a testament to the power of cinema and what can be accomplished by artists working at the peak of their powers.
It has been twenty years since Odysseus (Matt Damon) and his crew sailed for the Trojan War, and he has still not returned to Ithaca. His wife, Penelope (Anne Hathaway), remains steadfast in her love and loyalty while his son, Telemachus (Tom Holland), has grown up never knowing his legendary father. Dozens of suitors, with none so vile as Antinous (Robert Pattinson), plague the castle every night, eating the stores of food and drinking all the wine, preying on Penelope and attempting to provoke Telemachus, all in a bid to become the new king. But far away, Odysseus lives, slowly remembering the war and voyage home and all that befell him and his dwindling crew. As he remembers the various dangers they’ve encountered for two decades, Odysseus renews his intent to go back to where he belongs.
It’s not a complex tale, but it’s actually hard to summarize “The Odyssey” succinctly. That above paragraph elides over many different quests, adventures, tragedies, and characters that are all part of Homer’s classic myth. And yet, thanks to Nolan’s gifts as a storyteller, it never feels too overwhelming. Juggling all the events and people, in non-linear fashion no less, is handled with aplomb thanks to Nolan’s deft script and keen direction, aided by the wondrous editing of Jennifer Lame. Nothing is ever confusing, and yet it (almost) never becomes overly simplified either. While there is a part towards the end where Nolan’s thesis about war atrocities eroding civilizations becomes pretty blatant text, it is done with so much genuine humanity and emotion that it doesn’t feel as obvious browbeating as it could have in lesser hands.
And to be sure, there are no lesser hands working on “The Odyssey.” Every cast member is doing career highlight work here, with Damon truly setting the tone as the haunted hero who carries his burden in a myriad of ways. No character, even with just a few lines, feels reduced or small, but instead like real people stepping out of the history with their own complex feelings and thoughts. Nolan as writer has never been sharper, and his direction has never felt so assured and impressive. Composer Ludwig Göransson turns in yet another amazing score that will sweep up audiences in the events and creates an amazing soundscape that will be revisited many times. DP Hoyte van Hoytema tops a truly stellar career with some excellent cinematography, truly capturing the magnitude and scope of these legendary moments with a tremendous blend of naturalism and awe that results in beautiful frames that excite, sadden, horrify, and delight depending on the events. And, not least, is production designer Ruth De Jong and costume designer Ellen Mirojnick put together what is guaranteed to be award winning visuals that make this world of gods and monsters feel tactile, real, lived, and yet still grandiose.
Again, “The Odyssey” is an epic, and it requires three hours to tell the story the way Nolan sets out to tell it. Unfortunately, that length is felt for a bit in the middle where a few scenes of being faithful to the source and moving the plot along feels like something that could have been cut for better engagement and emotional intensity. I’m sure it’s sacrilege to literature scholars and Nolan fanatics alike, but the Laestrygonians on Telepylus don’t really add much to the movie, except for further decimating the crew. And yet…that sequence on its own is dazzling in imagery and F/X. That’s what’s so damn impressive about “The Odyssey”: even its weakest aspects could be singled out and stand on their own, towering over accomplishments of so many lesser films. For example, occasionally (but not always) the fight choreography lapses back into “Batman Begins” frenzied messiness where the ferocity is more important than precision. I didn’t like it in 2005 and I’m still not a fan 20+ years later. And yet…those moments carry enough emotional weight and have enough other aspects (cool stunt work, beautiful lighting, the score) that make it easy to forgive. “The Odyssey” is a rare case where it’s one step backwards, three steps forward to deliver a sincerely special film.
It seems unfair to judge “The Odyssey” against other movies. A filmmaker given carte blanche creatively and financially due to his past acclaim, awards, and box office success doesn’t happen that often. One that can also attract a massive amount of actor talent for even the smaller roles, and get that talent despite their other commitments, and shuffle them into the cast without it feeling distracting is something few directors can pull off. And being a cinephile who insists on cutting edge F/X along with practical locations and sets and costumes and more instead of bowing down to A.I. or rushed CGI seems to (sadly) be an increasingly unique position in Hollywood, and certainly not something that happens with any frequency. Yet all these elements could combine to produce a truly baffling flop—a familiar story about hubris that has befallen a great many filmmakers since the beginning of Hollywood. Instead, it’s the best-case scenario where everyone truly brought their all to this project, and it’s the vision and passion that carries it into genuinely epic territory. This is the rarefied air of “Lawrence of Arabia” and a couple of other massive epic films that deliver a beautiful cinematic experience that is also a wondrously transportive human moment. This is what art can be, and it just took one of the oldest stories in our world to remind us of all we can accomplish.
4.5 / 5 Stars
Directed by: Christopher Nolan
Starring: Matt Damon, Anne Hathaway, Tom Holland, John Leguizamo, Charlize Theron, Zendaya, Robert Pattinson, Himesh Patel, Samantha Morton, Elliot Page, Corey Hawkins, Jon Bernthal, Lupito Nyong’o, Benny Safdie, Logan Marshall-Green
