Some may disagree with this statement, but I say it with unfettered confidence – Christopher Nolan has yet to make a bad movie. Obviously some of the thirteen feature films he has directed (twelve of which he also wrote) stand out more than others. But through his incredibly diverse catalog of movies, Nolan has firmly established himself as both a master craftsman and storyteller. Every one of his movies has impressed me, with a whopping seven of them being my favorite film from their year of release.
Nolan’s stellar track record certainly isn’t tarnished with his latest, “The Odyssey”. It’s the visionary filmmaker’s spectacular cinematic adaptation of Homer’s Greek literary classic. It may also be his boldest swing to date. Nolan skillfully retells the story of Odysseus, the king of Ithaca, who leads his battle-weary men on the perilous, decade-long journey home after fighting in the Trojan War. The film is an epic in every sense of the word, transporting us to a place equally defined by myth and humanity, and created through the bravura filmmaking of a director who is as daring as he is confident.
One thing from Nolan’s breathtaking masterwork that will immediately grab you is its massive scope and grand scale. This is a gargantuan production that painstakingly puts every penny of its enormous budget on the screen. Scene after incredible scene openly displays the kind of jaw-dropping movie magic that will have you asking yourself, “How on earth did they do that?” It’s rapturous movie-making that would almost feel old-fashioned if it wasn’t for the groundbreaking spectacle that is on a scale unlike anything we’ve seen before.
Yet even more amazing is Nolan’s ability to balance such grandeur with an emotionally grounded thematic richness. Some of the film’s core elements revolve around such heavy subject matter as war trauma and guilt. Nolan shrewdly explores the deep psychological toll war can take. He challenges the notion that a soldier can simply put aside the death and violence of the battlefield and return home the same as they were before. But Nolan also emphasizes the driving force that is love, and the life-sustaining hope that can spring from it.
Even more, in its own way, Nolan’s film celebrates humanity’s long history of telling stories. We learn much from the numerous stories shared to others by bards, soldiers, mystics, servants, the undead, and more. Nolan organically incorporates them throughout the film in ways that seamlessly fit within his compelling non-linear structure. And they’re visually relayed across immersive canvases, highlighted by stunning real locations, stellar production design, and practical effects work that grounds us in the peril.
In a career defining performance, Matt Damon plays Odysseus, the weary and burdened king of Ithaca who has spent ten years away from home fighting the Trojan War. Following the fall of Troy, Odysseus and his men finally begin the long trek back to Ithaca. But their journey is thwarted by a series of deadly mythical encounters that ultimately lead to them being lost at sea. Along the way many of his men are killed, leaving Odysseus bearing even more guilt for the mounting lives lost under his command.
Meanwhile in Ithaca, Odysseus’ wounded but resolute wife Penelope (Anne Hathaway) and their son Telemachus (Tom Holland) still hold out hope that the king may return. But in his absence, dozens of self-serving suitors have gathered in hopes of courting Penelope in order to stake their claim on Odysseus’ throne. The most aggressive among them is the devious and scheming Antinous (Robert Pattinson), who will do anything necessary to be king. That includes killing Telemachus who is wise to Antinous’ twisted ambition.
While the events in Ithaca play out in the present tense, much of Odysseus’ story unfolds through flashbacks. Many of them come after he washes up on the shores of Ogygia. There he begins regaining his memory with the “help” of the mysterious nymph Calypso (Charlize Theron). Of course the past and “present” inevitably collide in a final act that brings this epic tale to a riveting and emotional satisfying conclusion. It’s a finish that does justice to both the spirit of Homer’s foundational work and Nolan’s original vision.
Damon’s full-bodied performance offers up a multifaceted Odysseus whose emotional journey is as crucial as his physical one. He’s a rugged warrior and a brilliant strategist who has earned the respect and loyalty of his men. But he’s also cocky to a fault, with a willingness to defy the gods no matter the consequences. But Odysseus’ facade slowly cracks under the weight of everything he has done and everyone he has lost. And Damon conveys it all with captivating precision, either as the legendary hero or a broken wanderer.
Several other stand-out performances help flesh out Nolan’s epic. Hathaway brings stoicism and resilience to Penelope while Holland’s boyish innocence hides Telemachus’ steadfast determination. Pattinson is fittingly slimy. Himesh Patel is terrific as Odysseus’ loyal lieutenant Eurylochus. Benny Safdie’s hulking Agamemnon is an intimidating presence to behold. John Leguizamo has never been better than as Odysseus’ blind swineherd Eumaeus. Samantha Morton enchants and terrifies as the sorceress Circe. And the gritty Jon Bernthal is a nice fit as Sparta’s King Menelaus.
But as with most Nolan movies, the conversation always seems to come back to the craftsmanship. “The Odyssey” sees him working in top form to deliver a landmark technical achievement that reminds us of why we still go to the theaters. Nolan’s virtuosic savvy is certainly key. But he also has the smarts to surround himself with geniuses. DP Hoyte van Hoytema’s exquisitely tactile realism roots the movie in reality while still capturing the mythological aura and sweeping scale. And composer Ludwig Göransson masterfully immerses us through his clever blending of traditional and experimental tunes.
Odyssey purists may gasp at Nolan’s willingness to peel away the prestigious veneer from Homer’s work for something more grounded and relatable. They might recoil at the modernized languages and reimagined ending. But Nolan never pretends to be making a by-the-letter adaptation. Much of Homer’s original vision is retained. But just like old tales often take new forms the more they’re shared over time, Nolan tells Homer’s story from an honoring yet fresh perspective. And when joined by his unmatched technical prowess, we end up with a testament to the resonating power of cinema. And I for one am grateful there is a filmmaker who can pull something like this off.
VERDICT – 5 STARS
Keith & the Movies 