Thanks to my friend Bob Liss, a Columbia alum, I got to watch the Odyssey Friday night on his dime at a private showing for Columbia grads at the San Francisco IMax. Man, what luxury -- reclining leather seats, and what sight and sounds! We have come a long way, a far cry from my youth at the Nixon theatre at 52nd and Market in West Philadelphia, where pea shooters launched barrages of peas at the silver screen during the cartoons and ushers hustled down the aisles to find the miscreants.
This is clearly another major achievement for Christopher Nolan. His great career has earned him as much investment as he wants in his ever more monumental movies, locations, actors, production values up the wazoo. He loves to make movies, apparently, and we are the better for it. Movies are a triumph of capitalism, in the sense that because they are made once and then distributed, the cost/reward ratio is terrific, if a lot of people see it. Let's not forget economics....
Anyway, here's my mini-review.
I enjoyed it a lot. It is totally made for the Imax - huge scenes, great evocation of time and place, the bronze age in the Greek islands and the Aegean. Not much technology back then, compared to now, but the ships were their magnificent technology, and their military organization as well. I've never before been transported this convincingly.
This interpretation of the Odyssey is very American, but I didn't mind that, I liked it. I did enjoy American English being used, none of that very formal English English sometimes used for “classical” films. The setting is ancient and foreign, but the people and the language modern. OK, I'll take it.
It's a monumental movie, but at the same time approachable - I’ll be surprised if it doesn’t get best movie Oscar. The women of the cast that I enjoyed most were Anne Hathaway (43 years old) and Charlize Theron (50 years old.) The wonders of makeup made Hathaway believable as someone who had aged 20 years by the end of the film. Everything about this movie is first class. There is a lot of action movie in it, and the usual hero with godlike powers, clearing away a palace full of suitors. For some reason it reminded me of The Count of Monte Cristo, who basically was an early Superman. Nolan always uses music prominently – it sets the mood so insistently that it is a character in itself. It was OK this time (as it wasn't in Dunkirk, for example), and I liked using old Greek instruments, which I understand is what they did. I thought I caught a whiff of Interstellar music here and there.
I paid special attention to Jon Bernthal, the son of my friend Rick Bernthal, who was impressive as Menelaus - bringing his street-action attitude chops to ancient Greece. He really played his role terrifically - he relates great to other male characters, clearly. I haven't seen him enough to know how he does with females, but here he is great in an avuncular relationship. Clearly a top-flight actor. Vicariously proud of him!! Go, Rick!
Richard Brody in the New Yorker laments that there was not more action with gods - they hardly appear, but are referred to a lot. He also laments that the cruelty of the age was not featured, and there wasn't near enough gore, which there could have been. Ancient people were a bloodthirsty lot. This catered to the audience, I think, made the movie more relatable. So did the lack of magic, and the irreality that actual gods bring to a film I know what Brody means, but it was still OK for me.
I hadn't realized that using the Trojan horse as a ruse broke the accepted norms of behavior - like not treating a guest well. This recalls the Iliad, where the treatment of Patroclus by Agamemnon breaks the established rules of the game, and sets off Achilles - I wish I remembered those details more clearly. Damon relates later in the film that this breaking of the rules will lead to the overall breakdown of their civilization. (I did appreciate the very modern and American explanation of the war by Damon to Penelope that Agamemnon was using the case of Helen to mount an attack that would break Troy's monopoly on the trade routes. I can't recall that from the Homeric text.)
Anyway, the historical fact is that after the Trojan War, there was a shifting of the center of civilized power to the Greek mainland after a couple hundred years, and then after 400 or so years the Iliad and the Odyssey are written, and then the city-states coalesce more, law and the courts are reformed, and finally, maybe 800 years after the war, the great plays are written. * That's a lot of time! Does Damon as Odysseus foresee this? It's intimated that he does. We might as well sail into the sunset he says to Penelope. BTW, the opening scene with him and Penelope, where he tells her what he's going to do, is as tender a non-sexual love scene as I remember seeing - although it does end with sex. Man, who doesn't want a marriage like that? They're both terrific, but while I give Damon an A+, I'd give Hathaway an A++.
Brody also complains that we don't see enough of Odysseus's wiliness. Well, yes, he's not so tricky, but he's so much more intelligent than anyone else, so much deeper, that I'll take it. Yes, he's "an American soldier," as Brody says, but he's more than that, so I guess I don't really agree with him on that. And we do see him figuring out situations really fast, and judging the motives of others, and figuring out how to come home. Man - I guess others have noticed that it's quite a story.**
Something I also appreciated was the commentary on the House of Atreus, Jon Bernthal's disgust at the assassination of Agamemnon, briefly but vividly depicted, and the sacrifice of Iphegenia, as the most powerful sacrifice is when the object is the most dear, and how Clytemnestra could not forgive that one. That belonged right there, and I thought it was place just right in this non-chronological recounting – which is the only choice of how to recount it, to my mind.
And I really loved the scenes with Calypso (Charlize Theron is 50 in real life, and so beautiful and alluring here), so moving, the knowledge of temporary nature of things so clear in her, the ambiguity of the situation, her ambivalence, but her love, her own need, and her judgement of a man so telling - time spent on these scenes must have given Nolan pause, wondering if it's too much interruption of action, but for me, this is he real action. The "action scenes," kind of the original Adventures of Robin Hood movie amped up 100 times, or any number of action movies since, even say the great Jason Bourne movies, are fine and intense with it's being hard to discern who is who, they're OK, like the great panels of maybe Breugel -- don't know why that comes to mind, but all the details of the fighting. But as competently as they are done, well, meh, for me.
Also, finally (maybe finally), I think they did the classic monsters really great - Cyclops is terrific, that one eye, the huge body, picking up men and eating them, kind of like King Kong when he's angry, or better, Godzilla. And the sirens are really well done, Scylla and Charybdis -- but I couldn't help thinking of our pacific passage of the Straits of Messina last year on our August cruise -- I had a good time, but didn't need to be tied to the mast, although I was friendly enough. The depiction of the whirlpool was great. And then I didn't know what that encounter with the huge, armed men of war that routes the Greek men was all about - was that in the book? It must have been.
We should also mention Circe, depicted as a man-hater, a strange depiction by Samantha Morton, who is English, but comes across to me as a bitter woman from Brooklyn, or somewhere. That's probably just me. Still, not the entrancing type - but what an indelible scene as she literally turns the men into the pigs she knew they were inside. Memorable, man, memorable. And then Damon outwits her - that's the wiliness, Richard. He sees through everything. He's wily, man.
What was really good was the sense of sailing into the unknown, which Odysseus chooses to do freely, instead of taking the classical route home as Agamemnon and Meneleus do -- he's a risk taker. He slides over his responsibility to get home to Ithaca and Penelope and Telemachus by saying "I bet we beat the others home," while they have an adventure. Some adventure, it turns out to be -- 10 years. 7 of which, apparently, is spent with Calypso, the beautiful and alluring Calypso, eating lotus leaves. The dream of life, life on a desert island with Calypso, dreams with lotus leaves, can't even remember the life before - as the rest of life has just been stripped away, even all the comrades in arms, and yet he remembers Penelope in the end and Calypso honors that. Wow. Tears you apart.
So, OK. See in in IMax format -- the evocation of place is really magnificent. The way Lawrence of Arabia evoked the desert. The Greek islands, all that water, all that sea, the mysterious islands and visiting the places they had only heard rumors about. And then the movie-making of it all -- this is state of the art 2026, all the money you might want, the best actors and artists of make up and everything else I can only guess at, and I'm guessing a nomination for cinematography, without doubt. How many total nominations will there be? 20?
Get ready to internalize images that won't be easily erased.
This one will stick.
Budd Shenkin
*
The Minoan Age (c. 2700–1450 BCE) was succeeded by the Mycenaean Age (c. 1600–1100 BCE). Following the collapse of the Mycenaeans, the region entered the Greek Dark Ages (c. 1100–800 BCE), which eventually transitioned into the Archaic Period (c. 800–480 BCE). [1, 2, 3, 4, 5]
Here is how these successive periods defined the Aegean world:
The Mycenaean Age (c. 1600–1100 BCE): After the explosion of Thera weakened Crete around 1450 BCE, the mainland Mycenaean Greeks took cultural and administrative control of the island. They were the first Greek-speaking civilization and are famous for their fortified palace

