'The Odyssey': A Staggering, Spectacular Epic

PHOTO: Universal Pictures

How do you follow up one of the biggest successes of your career? If you’re Christopher Nolan, you use your power and prestige to adapt one of the world’s most enduring stories. Nolan is a man who needs no introduction, as he is one of two modern day directors who can sell a film on his name alone (the other being Steven Spielberg). His films are guaranteed to attract filmgoers, as they boast amazing spectacle and impeccable craftsmanship. And now, hot off the wild, Oscar-winning success of Oppenheimer, he is back with an adaptation of Homer’s The Odyssey. 

When this film was first announced, I felt like it would either be an act of pure hubris or an absolute triumph for Nolan. After all, if anyone could pull off a big budget adaptation of The Odyssey, it’s Christopher Nolan. It is such a grand, sweeping story with plenty of thrilling setpieces and mythological creatures, not to mention that it has a strong emotional core like we often see in Nolan’s work. However, with the film being made at such a big budget and Nolan’s huge ambition, there was certainly the potential for this film to falter. But Nolan’s The Odyssey doesn’t falter at all, and is instead a staggering masterwork that beautifully adapts Homer’s classic tale and is one of the most astounding feats of filmmaking of the decade.

After the end of the Trojan War, Odysseus (Matt Damon), the King of Ithaca, and his soldiers embark on a long journey home. Their voyage becomes perilous and difficult, as they encounter mythological creatures and extreme obstacles. The film flips between Odysseus’s journey home and Ithaca 20 years later, where his wife, Penelope (Anne Hathaway) and his son, Telemachus (Tom Holland) are struggling to maintain power. Many suitors have come forward in Odysseus’s absence to take the throne from Telemachus. Penelope and Telemachus hold out hope that Odysseus will return, all while Odysseus himself continues to make his way back home. 

There has been some pushback on the film’s more contemporary sensibilities, particularly with the language used in the film. This, as well as the changes made from the source material, are sure to frustrate purists, but I personally feel that all of this serves what Nolan is trying to do with his version of the story very well. It still keeps in line with the major events of the original story, but shifts certain details to highlight themes of guilt, regret, and longing beautifully. Nolan has a clear point of view with this film which fits in well with his oeuvre and gives the story a higher level of emotionality. Sure, there’s plenty of cool visual setpieces, but this film brings the richness of Homer’s original tale to the surface and offers an experience that is more affecting than people might assume. 

But of course, we have to talk about the film’s spectacle, which is undoubtedly why people should see this film on the biggest screen possible. Nolan is a huge proponent of doing things practically and with as little computerized effects as possible, which only makes what he accomplishes with this film all the more impressive. The production design alone is incredible, utilizing real beaches and older boats and buildings to create a more authentic environment. But the film’s major setpieces, such as the Cyclops sequence and the scenes involving the character of Circe, are so detailed and incredibly crafted, and often had me wondering how Nolan pulled them off. The scope of everything is so grand and matches the epic nature of the original text, signaling that this is Nolan at the peak of his cinematic power. It is absolutely incredible from a pure visual standpoint, and everything else he accomplishes only strengthens the film as a whole.

Much like many of Nolan’s recent films, The Odyssey has a top-notch ensemble with all the players turning in excellent performances. Front and center is Matt Damon, who gives one of the best performances of his career. As Odysseus, we see Damon embody the pride and strength of a warrior, but we also see him feel remorse for his actions during the war and a strong desire to return home to his family. It is the perfect use of Damon who is able to play both the heroic and introspective qualities of the role excellently. I was especially impressed by his work in the sequence involving the Sirens and in the film’s final sequence. Although, his best moment is when he looks back on the attack of Troy, which really sealed this as one of my favorite performances I’ve ever seen from him. 

Anne Hathaway is also a major standout, playing Penelope with an underlying intensity that commands the screen whenever she appears. There are long stretches where she is absent from the film, but she is incredible every time she shows up. John Leguizamo is probably the biggest surprise of the whole film, as he is the heart and soul of it. Leguizamo plays Eumaeus, Odysseus’s faithful servant. There is a warmth and a levity to the character that makes him quite endearing, and it is fascinating to see Leguizamo being used in a way I don’t recall ever seeing before. I also was highly impressed by Samantha Morton, who is only in one section of the film but she absolutely knocks it out of the park. As Circe, Morton manages to intrigue and terrify throughout. It wouldn’t surprise me if she gets an Oscar nom for her performance as she is phenomenal here. 

Beyond the performances, we get some astounding work from two frequent Nolan collaborators: cinematographer Hoyte Van Hoytema and composer Ludwig Göransson. At this point, Van Hoytema has become integral in creating the visual landscape of Nolan’s films, and he continues to be a master of his craft here. This definitely feels like the peak of their partnership, as both are huge proponents of shooting on film and that is the first film to be shot entirely with IMAX 70 mm cameras. Van Hoytema captures the maximalism needed for this film to be a stunning spectacle, but there is some excellent visual storytelling that comes through his camerawork even in some of his smaller choices. As for Göransson, he has proven himself over the years to be one of our most innovative and talented film composers, and his work here continues his excellent track record. His score for this film is powerful and amazing, and has those distinct touches that can only come from Göransson. I have always appreciated his work, but I think his work here cements him as one of the best modern-day composers.

The Odyssey is a pure triumph for all involved, and is the type of film that was made to be seen on the biggest screen possible. It is sheer spectacle with a strong emotional core, and stands among one of Nolan’s finest works. Some might balk at the film’s more modern leanings, but I feel that this helps make the source material more accessible to the masses and allows it to have a larger impact on them as well. The Odyssey is a truly phenomenal epic that captivates and amazes, and it is a theatrical experience that shouldn’t be missed.

Rating: 5/5