Following his Academy Award triumph when the three-hour biopic Oppenheimer swept up 7 Oscars, including three of the headliners - Picture, Director and Actor for Cillian Murphy - Christopher Nolan has reached a pinnacle that afforded him the opportunity to do whatever he set his mind to. Three years later and the results are in :The Odyssey is Nolan's ambitious interpretation of Homer's Odyssey, the epic poem that tells a tale of greek Gods, wars, curses and fates. Does an interpretation of such an ancient text have space in our movie theatres, or has Nolan failed to learn from another Greek myth and flown to close to the sun in his determined quest?
At the end of the Trojan War and the fall of Troy, Odysseus' years-long homecoming brings him face-to-face with the Gods on rocky waters, deathly islands and directly into Hades, as he reckons with the consequences of his actions. Elsewhere, his wife and son attempt to fend off the suitors attempting to claim the crown of Ithica and become its king, in Odysseus' almost two-decade absence. A monumental project like this requires a substantial ensemble, with Matt Damon, Tom Holland and Anne Hathaway taking the reins, with supporting turns from the likes of Robert Pattinson, Lupita Nyong'o, Charlize Theron, Zendaya, John Leguizamo, Himesh Patel, Samantha Morton, Elliot Page and many, many more.
A man as entirely committed to the theatrical experience, Christopher Nolan has brought the most epic of proportions to The Odyssey, and in the process has made it the first film ever to be entirely shot on IMAX cameras. A story that spans water and land, covering sieges and shipwreck, Nolan has mounted an impressively striking endeavour on a scale we have rarely seen before. Whether IMAX is your format of choice when viewing The Odyssey, it is an imposing visual accomplishment rich in practical achievements and jaw-dropping detail, with the work of frequent collaborator cinematographer Hoyte van Hoytema capturing the scope of the story superbly.
Not too dissimilar to Emerald Fennell's interpretation of "Wuthering Heights" earlier this year - which, notably, did not attract the same level of passionate defence from general audiences - Nolan has made no qualms when inferring that this is his version of The Odyssey -- after all, how can a piece of literature with such significance the world and generations over ever be adapted with reverence to each and every reading cast upon it? With sharp focus on false victories, fulfilling prophecies and domino effects etched through every scene, Nolan is hardly breaking into new thematic ground here, but by having his lead character turn inward for a moment of reflection, he finds an angle for the story most suited for these trying times, as he reckons with the consequences of his actions. The non-linear narrative structure works wonders in developing a consistent rhythm that ensures the epic paced relatively well, particularly given its mammoth 173 minute runtime that could easily feel sluggish in less capable hands.
Nolan has always taken his work seriously; particularly during an era of moviemaking where the temptation to crack a joke to cut the tension is omnipresent, Nolan has remained above such an impulse. But it is that seriousness that perhaps works against The Odyssey. Despite an inter-title that reads "in a time of apparent magic", Nolan rarely leans into the mythical or the magical, seemingly embarrassed by the more fantastical elements of the plot and bolting past them without paying much mind or attention to them. It feels almost disingenuous not to fully reckon with the more extraordinary elements of Greek mythology, no matter their grounding in a realism Nolan more typically likes to contend with. The dramatic heft of the text is undoubted and Nolan seems reticent to risk undermining it, but it instead leads to the feeling of a missed opportunity to really capture the true flavour of Greek mythology.
Given Nolan's reputation, his work is always bound to feature some of the most top-list talent available, and The Odyssey may be his most star-studded cast yet. Matt Damon leads the charge with a commendable performance that grapples with the weight of his actions, while Anne Hathaway channels both rage and composure as his wife, who lies in weight while fending off rowdy suitors. Tom Holland appear somewhat miscast in a role that, ironically, does not give him very much to chew on, and perhaps feels overshadowed by the more towering characters in the piece. Nevertheless, he lands the father-son moments with ease, which has always been a strength of his as an actor.
Most of the really impressive work though is happening in the supporting cast, with three performers who stand above the cast; Samantha Morton is superb as Circe, delivering a disquieting turn that provides some of the most powerfully timely metaphors through a stirring monologue; Elliot Page strikes an emotional note as Sinon, the abandoned solider whose devotion to the cause changes the direction of the war; and John Leguizamo, who truly surprises with a soulful performance that traverses loyalty to the crown. No one turns in a bad performance by any stretch of the imagination, but those that standout of deserving of the acclaim heading their way.
The Odyssey is a towering achievement, one that only Christopher Nolan could have made and one that further cements his status as perhaps the director of the era - one who so eagerly, and successfully, champions the more tangible elements of the filmmaking process with real sophistication. Thanks to a game ensemble cast and a superb array of talent behind the camera carefully moulding the piece to conjure Nolan's unique interpretation of the mammoth text, The Odyssey is comfortable one of the defining cinematic events not only of the year but of the decade overall, and demonstrates that the march for quality cinematic programming is stronger than ever before.