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The Problem With Nolan’s Odyssey Is That It’s Not Homer’s Odyssey

By trying to make the Odyssey relatable to the twenty-first century, Nolan made a flash in the pan, not an adaptation of foundational text of the Western world.

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The best way to describe Christopher Nolan’s The Odyssey is to say that it is a sleek, modern piece of porcelain, delivered without the medium ribeye you ordered.

The movie, like all of Nolan’s work, is a technical marvel and the first narrative film shot completely on IMAX 70mm film. Chock full of household names, both old-school (Matt Damon, Anne Hathaway, Charlize Theron) and newcomers (Tom Holland and Zendaya), the blockbuster is reminiscent of old Hollywood star-fests like Sidney Lumet’s Murder on the Orient Express and John Huston’s The List of Adrian Messenger.

Excellent scenes are seeded throughout the movie. Odysseus’s encounter with Circe, for example, is genuinely horrifying, ditching mumbo-jumbo spells and Harry Potter-esque transformations for elements of classic body horror flicks like Cronenberg’s The Fly. The brief reunion between Argos, Odysseus’ faithful hunting dog, and his master is genuinely heart wrenching.

When Odysseus slaughters Robert Pattinson’s Antinous and the other men who perverted the laws of hospitality and squatted in his home to woo his wife Penelope, it is a cathartic experience to watch. While there are highlights in the two-hour, 52-minute runtime, the product still has serious flaws.

Nolan’s adaptation is not Homer’s Odyssey. Yes, the exterior details are there — we have the Trojan Horse, the Cyclops, the Sirens, Calypso, the lotus flowers, Charybdis and Scylla — but none of them are right. It is as if Nolan took these elements of the epic, dropped them in front of a funhouse mirror, and shot their reflections. The reproduction is shallow, but not because the dialogue is modern or because there are more black and Indian people in the movie than Greeks. It is because Nolan completely drops the ball in........

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