Directed by: Christopher Nolan
Distributed by: Universal Pictures
Written by Taylor Baker
85/100
Much of the focus of Christopher Nolan as a filmmaker has centered on his exceptional ability to direct bombastic films. His use of set pieces is exceptional to such a degree that much of the conversation about his films is in reference to them, from the Tom Hardy “They expect one of us in the wreckage, brother.” in “The Dark Knight Rises,” to the courtroom scene of “Oppenheimer.” Nolan’s “The Odyssey” uses seafaring not only as another set piece, but as a continuous one that, on its own, is formidable and bridges us to more thrilling and memorable events than Odysseus and the crew being thrashed by Poseidon alone.
But it’s not in the direction that “The Odyssey” is most interesting; it’s on the page. Homer’s epic poem has more than enough material to be converted to a mini-series. Nolan condenses and morphs the pivotal moments and themes of the epic. Adopting a fast-cutting style, he operates his dialogue sequences early in the film as if it were a modernist Shakespeare play. Exposition flies by fast; the inevitability of its operatic conclusion approaches equally quick. He bookends the film with the story of Troy and reflections on the pain of war for the soldiers who fight in it and at home in clever ways. He cleverly takes a hotly debated historical topic like who the Sea Peoples were, and makes it into the metaphorical “ourselves,” creating a ruminative iteration that speaks broadly to the West as we see ourselves today.
There are some issues; early brevity and fast cutting while establishing pace markedly stand out as the poorer half of the film relative to the finale. In multiple dialogue sequences, the focus pulls are visibly unsuccessful, and Charlize Theron’s Calypso fails to mesh into the Mediterranean world Nolan conjures. But by and large, this epic is exceptional in its entertainment and its thoughtful adaptation. Matt Damon’s unique presence and steady hand at performance allow Nolan to achieve the trick his film requires—the superhero feat and fight sequence at its end. Damon’s roles and public presence don’t distract from imagining him as Odysseus, but he avoids bringing that overbearing star power we would see if nearly any other superhero actor were cast in the role. “The Odyssey” hinges on us believing not just Odysseus’s story, but his abilities. For if we don’t, the penultimate fight sequence in the dining hall of his home will unravel all that came before. The final act of the film is its best, and with its success the film goes from good to great.
With “The Odyssey,” Christopher Nolan shows that the Hollywood superhero genre can contain stories outside of comic book origins while continuing his bent toward contemplative work assessing our place in the annals of history. “The Odyssey” is among the year’s best films and contains boundary-pushing expert filmmaking of such merit that its flaws add a patina of humanity, more than they interfere with the experience. That raw humanness is at the core of what separates him from his clinical predecessor Kubrick, and the expert diorama maker Spielberg.
“The Odyssey” Trailer
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