It isn’t until the suitors assume power that he begins to grow into his heritage, and then he is still treading in the waters of adolescence. As he begins to embark on his own journey, he then uncovers the truth behind all that his father is and what he must do to keep his father’s name alive. 

The performances from the Goddesses Athena (Zendaya), Calypso (Charlize Theron), and Circe (Samantha Morton) all held their own and brought something pertinent to Odysseus’ quest home. Zendaya’s Athena was a graceful spiritual presence who believed in Odysseus through all of his unsavory waves. The warmth and spiritual prowess that she brought to the role was a spectacle heavy in conjunction with the camera work. Theron’s Calypso, not only as a lover of Odysseus but as a safe space for him to finally go on his way, works to build a wounded Odysseus. Her presence was not utilized to its fullest potential (especially as he spends the majority of his journey with her), but it worked in the sense that she was grappling with her ties to Odysseus. As for Morton’s Circe, she offers one of Nolan’s most prized scenes of all his filmography. The daunting horror that she exudes in the film’s narrative, mentally, emotionally, and above all physically, is the film’s turning point and pivot to the success of the final act. 

As for the rest of the cast, Himesh Patel’s portrayal of Eurylochs, opposite Odysseus as his second-in-command, offers great banter amid immense strife. Patel captures the leadership that Odysseus should personify but can’t due to the cost. John Leguizamo’s performance as Eumaeus is a major highlight; his contrast with Penelope and Telemachus in the name of keeping Odysseus’ name alive is the most grounded, given their longtime relationship. Page’s portrayal of Sinon (Elliot Page) sets the tone for the war and carries back to Ithaca a prolific piece that holds fate in balance. Benny Safdie’s aura as Agamemnon (Benny Safdie) was breathtaking on screen, especially during the Trojan War battle. The cautionary presence that Safdie brought to Agamemnon, as he looms over the film as a guide for Odysseus, remained valid throughout his journey. The differentiation Lupita Nyong’o brought to playing sisters Helen of Troy and Clytemnestra was detailed, though rarely having time on screen. 

Robert Pattinson’s villainous turn as Antinous was well-intentioned, but at times he missed the mark. As the main antagonist and leader of the suitors, there was an element that was missing from Antinous, especially throughout the first half of the film. There wasn’t much of a menacing presence (throughout) that was needed, especially opposite Odysseus, and by the time Pattinson did grow into his unhinged villainy, it was too late. This is to say that Antinous needed more character development and that Pattinson was doing the best with what was given because he has the chops needed to execute the role. 

Defying the Gods

The Odyssey’s cinematography pulls out all the stops as only a Nolan directorial can. This marks Hoyte van Hoytema’s fifth collaboration with Nolan, and as always, the vision is clear. This time, as the film is a highly regarded period piece, the camera work must maintain perspective at all times; this is done beautifully, especially during the scenes where Odysseus is mentally and physically tested. The scenes on land are naturally captured, especially when the horse is first found at sea, playing into the life that the journey is pulling towards. The scenes at night are intimately lit and offer a sense of personality which gives clarity to what is either happening or about to happen. The scenes involving any type of water activity are beautifully intricate, especially after the harm that Odysseus has caused Poseidon, so it’s touching to see that element woven in. 

Ludwig Görranson’s score is a force in its own right. The score is well-rounded in an earthy way, as the film is a spiritual journey. The light tones of the score are nicely settled in as the journey has not yet begun, only for things to kick up as Odysseus’s quest begins. When things begin to get dicey, the score sets up tension and consistently blends as it builds as Odysseus and his crew are put in some of the most inferior positions imaginable. This is best showcased during the Trojan War, and Odysseus and his crew have to make their way through battle, leading to a satisfying catharsis. 

The film’s atmosphere overall aligned with the intentions of the source material. As the film is a Nolan adaptation, he did the impossible the best that he could, and it is worth every moment. Nolan spared no expense as the film was his first shot with IMAX cameras in its entirety. Shooting occurred in three-minute intervals to take advantage of the full IMAX scope, and the final product is satisfying to bear witness to on the biggest screen imaginable.  

Home at Last

Christopher Nolan’s take on The Odyssey is a stellar payoff. The prophetic journey that he curates finds its stride as the story progresses, leaving a satisfying pace for a nearly three-hour runtime. The camera work and sound work he used to bring this epic to life as a fully cinematic body of work were worth the depiction. While some performances stood out from others, everyone cast in the film did an immaculate job playing their respective roles. Matt Damon’s take on Odysseus is one that will be remembered beyond the screen and even in regard to the source material. Though the cinematic adaptation may be missing some key elements from the source material, it’s still beyond worthy of a watch for an unadaptable body of work.   

See The Odyssey in theaters now!