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The Odyssey review – Nolan goes god-tier with breathtaking epic of men, monsters and moral metamorphosis
Doing full justice to the Homeric legend, Christopher Nolan amasses an epic cast to convey the true cost of war with film-making of thrilling ambition
A classicistâs verdict: soulful hero flatters our times as women and nuance pushed overboard
Christopher Nolan reinvents the Homeric legend as a colossal origin-myth story of postwar disillusion, an epic ordeal of anguish witnessed by the dead and presided over by capricious deities who participate on almost equal terms with the humans. It speaks to the generational pain of PTSD; plenty of soldiers come home in person after any war promptly enough, but arriving back to their prewar state emotionally or spiritually can take years or decades and may never happen at all. The invisible odyssey of anguish is punctuated by flashback episodes, hallucinations, confrontations with the arbitrary gods of dysfunction. And all the time the spouses and children cannot move on with their lives.
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The Odyssey has been making headlines for months – so what’s the movie actually like?
Christopher Nolan has a way with a time paradox. Not content with constructing narratives that run backwards – or whatever was meant to be happening in 2020 sci-fi thriller Tenet – his big-budget adaptation of Homer’s Odyssey gambles that he can take one of the oldest stories in Western culture and make it feel new.
Drums pound, eager listeners lean forward in torchlight, and a bard (Travis Scott) summons up the figure of a man trying to get home, the long way round. That man is Odysseus (Matt Damon), Greece’s craftiest warrior, on his way back from the Trojan War, while his wife Penelope (Anne Hathaway) waits patiently and his son Telemachus (Tom Holland) seeks him in turn.
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