The Odyssey review: Another technical triumph from Nolan
After winning seven Oscars – including Best Picture and Best Director – for Oppenheimer, Christopher Nolan was essentially given a blank cheque to make whatever he wanted next, and he chose the gargantuan task of bringing Homer’s ancient Greek text, the Odyssey, to life.
Matt Damon plays Odysseus, the legendary king of Ithaca, Greece, in this epic fantasy film, which follows him over many years after he tries to return home after the Trojan War. During his perilous journey, Odysseus encounters many mythical creatures, including a cyclops, sirens, witches and nymphs. Back on Ithaca, his wife Penelope (Anne Hathaway) and their son Telemachus (Tom Holland) are trying to hold off threatening suitors – including Antinous (Robert Pattinson) – who have their eye on the empty throne. Despite waiting 20 years, she refuses to remarry, certain Odysseus is alive and will return, but the suitors are growing impatient.
The Odyssey is a staggering technical achievement and a mind-blowing filmmaking spectacle of a magnitude that only Nolan could have pulled off (and been given the time and budget to do so). The scale and scope are beyond epic, the practical effects are seriously impressive, some of cinematographer Hoyte van Hoytema‘s images will make your jaw drop, and Ludwig Göransson is sure to win another Best Original Score Oscar for his work here.
It is a faithful adaptation of the story, although told out of order. Nolan seems averse to linear storytelling, so I should have known that he would hop around all over the place chronologically. I’m not sure all of his editing decisions worked. For example, the first 15-20 minutes are too much of a slow burn as he lays the groundwork for the story and the constant back and forth between Ithaca and Odysseus’ journey (and different points within those timelines) does affect the momentum. However, I cannot fault the final 30 minutes, where the energy and action really ramp up and the non-linear storytelling packs more of a punch than a traditional timeline.
As always, the cast is absolutely stacked with stars, some of whom are willing to take small parts just to work with Nolan and therefore don’t have much to do. For example, Zendaya doesn’t have much screen time as the goddess Athena, but she is poignant, impactful and makes the most of what she’s given. Likewise, Samantha Morton‘s witch Circe is only in one sequence, but it’s a full horror moment that’ll haunt me for a while. Due to the scale of the story, very few characters are well-rounded people, but the performances are still excellent. Damon capably takes on the Herculean task of fronting this gigantic undertaking, but the emotional heavy hitters are Hathaway, Holland and John Leguizamo as Odysseus’ faithful servant Eumaeus.
I respected the ambition, the epic scale and the awe-inspiring filmmaking skill on display, but I was not overly invested in the story itself. Maybe it’s because Greek mythology isn’t my thing, but I felt the emotional core got lost among the setpieces, action and weird and wonderful creatures. It’s an overwhelming film and a lot to take in, so perhaps the emotional layer will reveal itself more on a second outing.
The Odyssey is an old-school globe-trotting adventure filled with top-tier stars, gorgeous locations and beautiful shots, but my lack of investment in the story really holds it back from getting a full five stars.
In cinemas from Friday 17th July