For once, I’m stumped: I cannot recall my first exposure to Homer’s epic poem “The Odyssey.” The story was depicted in a 1951 issue of “Classics Illustrated,” a comic book series produced initially by Elliot Publishing Company before the owners rebranded as the Gilberton Company. Maybe Mr. Peabody and his young ward Sherman traveled back in time in the Wayback Machine to meet Odysseus in one of the “Peabody’s Improbable History” segments that were part of “The Adventures of Rocky and Bullwinkle and Friends.” It’s equally likely I encountered the 1954 fantasy adventure “Ulysses” on television one Sunday afternoon in the 1970s. That adaptation featured Kirk Douglas as Ulysses — the Latin name given to Odysseus by the Romans in days of yore — along with a cast that included Silvana Mangano and Anthony Quinn.
While I may not be able to pinpoint my formal introduction to Homer’s “The Odyssey,” I’m sure that by the time some teacher assigned it as homework I was already familiar with some of its primary components — especially the monsters. Storybooks from my childhood recounted the tale of the Cyclops as well as that of the Sirens. These Greek creatures also made an appearance in the Dungeons & Dragons reference book “Deities & Demigods,” first published in 1980 by TSR Inc. More recent generations can thank Rick Riordan, author of the Percy Jackson fantasy novel series, for letting them get acquainted with Greek gods.
And every student in the 1970s had heard of the Trojan Horse long before it became a catch phrase in the cyber security industry. Even those who haven’t read the two major epics of ancient Greek literature attributed to Homer — “The Iliad” and “The Odyssey” — still recognize character names and have an appreciation for the immutability of their central themes. That’s astonishing given the age of these works, estimated to have been composed roughly 2,700 years ago.
Now moviegoers have a new opportunity to become entranced by Homer’s enduring legacy. “The Odyssey,” written and directed by Christopher Nolan, opened in theaters on July 17. Nolan adapts Homer’s ancient Greek epic poem in a sweeping cinematic experience of breathtaking scope. The film balances multilayered narrative intricacies with stylistic brilliance, conveying both traditional themes as well as more modern ruminations on trauma and the harrowing toll of war.
In “The Odyssey,” Odysseus (Matt Damon), the king of Ithaca, disappears following the victory in the decade-long Trojan War. Having been without its king for 20 years, Ithaca has fallen prey to opportunistic suitors, including Antinous (Robert Pattinson), all vying to marry Odysseus’ wife Penelope (Anne Hathaway) and usurp the throne from Penelope’s son Telemachus (Tom Holland). Telemachus, Penelope, and Eumaeus (John Leguizamo), a blind swineherd and faithful servant to Odysseus and his family, still believe the king will return. Just as Homer employed a nonlinear narrative structure, Nolan’s film is told in a partially nonlinear way, manipulating time to emphasize Odysseus’ fragmented memories.
Most of Odysseus’ experiences following his departure from Troy are revealed as flashbacks. This includes all the challenges he faced with his second-in-command Eurylochus (Himesh Patel) and their ever-dwindling company of soldiers. Some of these segments are grueling and visually disturbing, such as the depiction of Odysseus and his men becoming trapped in the cave of the Cyclops Polyphemus (Bill Irwin); and, later, the scene in which the company is routed by the cannibalistic giant Laestrygonians. An impressive sequence in which Odysseus’ men are transformed into pigs by Circe (Samantha Morton) is one of the film’s most shocking moments, leaning heavily into body horror. Nolan intentionally emphasizes the horror of the metamorphosis, utilizing gruesome bone-shifting practical effects.
Meanwhile, Telemachus leaves Ithica on a fact-finding mission, while Antinous conspires to kill the heir to the throne. Eventually, the storylines merge in Ithica — but not before Odysseus takes leave of Calypso (Charlize Theron), who has been enjoying his company and drugging him with lotus flowers that cloud his memory.
Nolan brings to the story the incapacitating effects of trauma and guilt. Odysseus may still be cursed by hubris throughout his voyage, but underneath his arrogance and pride he is gradually amassing a portfolio of grief and regret. Waylaid by Calypso, he begins to reflect on his actions in the bloody sacking of Troy.
Damon gives an outstanding portrayal in a film brimming with masterful performances. Hathaway imbues Penelope with consistent grace under pressure — until the character’s façade fails and reveals a glimpse at her true desperation. Leguizamo is heartbreaking as Eumaeus, and Patel’s Eurylochus provides a moral anchor that helps underscore Odysseus’ story arc.
There are aspects of the film which will rankle anyone looking for a reason to disparage Nolan’s work. Occasionally, some modern English phrases and colloquialisms come across as a bit jarring. Hearing a Bronze Age Mycenaean warrior saying “It’s OK. It’s OK.” does shatter the illusion momentarily. Others have pointed to anachronisms related to armor and the fleet. These details are only distracting to those expecting a thoroughly accurate historical adaptation — which would include all dialogue being spoken in the archaic, early form of the Ionian Greek dialect that would have been in use in Homer’s time.
Key takeaway: “The Odyssey” is a monumental achievement. It is an old-school blockbuster that lives up to the hype. It is a stunning spectacle that deserves to be seen on the big screen. The grandeur, the bleak beauty and the technical and creative craftsmanship will be talked about for many years to come.
We’ll check back in 2,700 years to see if Nolan’s work is still well regarded.
Lee Clark Zumpe is entertainment editor at Tampa Bay Newspapers, a Tomatometer-Approved Critic, and an author of short fiction. He can be reached by email at lzumpe@TBNweekly.com.