Christopher Nolan rescued ‘The Odyssey’ from itself

The brilliant conceit of Nolan’s adaptation is approaching Odysseus's character through a more nuanced, complicated — if not downright humane — perspective. This novel approach subverts the core legend of Odysseus in a thought-provoking manner.”

Michael Strasburg

Much like Odysseus guiding an arrow effortlessly through a row of axes, Christopher Nolan’s adaptation of Homer’s epic poem “The Odyssey” is a seamless feat with a concussive conclusion. This new film merges Nolan’s favorite tropes and tricks — a man fearing the loss of his family, a nonlinear narrative, propulsive editing and a thematic mic drop at the climax — with traditional Hollywood spectacle and a gallery of talented actors offering fresh perspectives to an ancient story.

Set in the aftermath of the Trojan War in ancient Greece, the “Odyssey” follows the epic, 10-year-voyage home for Odysseus, the legendary war hero behind the Trojan Horse scheme that led to the fall of Troy and the end of the war. But the tales of Odysseus’ ingenuity and wartime trickery reach the shores of his home, Ithaca, far before he and his men do, leaving his wife, Penelope, and adult son, Telemachus, to wonder what is keeping their patriarch from his loving home while a cabal of ruthless suitors slowly tighten their grip around Odysseus’ kingdom.

One of the big discussions around “The Odyssey” also happens to be about the only thing I bristled against: this movie was filmed entirely in IMAX — the ultra-high-definition film stock — and you’d hardly know it. This isn’t “The Searchers.” It isn’t “Lawrence of Arabia.” Heck, it’s not even Nolan’s own “Dunkirk” (a gorgeous movie).

For all the hubbub, the IMAX format seems wasted here. The colors are quite muted and the cinematography is rather claustrophobic and intimate. At times, it’s even a detriment as the ability to properly focus shots is more difficult on these large camera rigs (there is a gripping Anne Hathaway scene that is nearly ruined by the camera operator constantly losing her focus). It’s a good-looking picture, but it’s nothing to put on a pedestal. Though I still recommend seeing this in theaters — the tremendous sound design and opportunity to really lose yourself in the story are well worth the ticket price.

Similar to Odysseus’ men rowing their warship through the sea, the cast of “The Odyssey” move perfectly in sync with one another, all working in harmony to fill the story with a perfectly measured sense of drama and peril.

Anne Hathaway portrays the sequestered Penelope like a caged animal, trapped in her own home as greedy men plot their takeover. Hathaway’s Penelope is a bundle of nerves and emotions just stewing beneath the surface. Betrayal, helplessness, grief — she clasps all these emotions tightly within her fist, only for them to slip through her fingers at moments of intense hurt and vulnerability. There are two jump scares in this movie — one when a beast attacks, and one when Penelope lashes out at her unbearable situation. The former startled me, for sure, but it was the latter that unsettled me for the rest of the picture.

Another highlight, again back at the home front, is John Leguizamo — who portrays Eumaeus, a fiercely loyal friend of Odysseus. Eumaeus is blind, but he clearly sees the dire situation in Ithaca, where suitors lining up to replace the missing king are becoming increasingly desperate. Leguizamo grounds the Ithaca portion of the story with deep pathos, showing the audience just how far things have fallen, and that those who remember Odysseus still have faith in him.

Across the sea, a recognizable story plays out for anyone who’s remotely familiar with “The Odyssey.” Odysseus, after defying Poseidon, is plagued with a cursed journey home where nearly every stop along the way presents a cruel challenge. One of the thorny parts of adapting “The Odyssey” is telling the picaresque, episodic nature of Homer’s tale in a way that does not feel fragmented. Nolan is uniquely suited to this undertaking. Many of his best films, like “Dunkirk,” “The Prestige,” “Inception” and “Memento” unite fractured, nonlinear narratives through an overarching, ever-present theme.

All throughout “The Odyssey,” Nolan unites the disparate stories through Odysseus’ regrets about the Trojan War. Without revealing too much, the brilliant conceit of Nolan’s adaptation is approaching Odysseus’ character through a more nuanced, complicated — if not downright humane — perspective. This novel approach subverts the core legend of Odysseus in a thought-provoking manner.

More importantly, it allows Nolan to tell the well-trodden plot of “The Odyssey” (including all the classic beats like the Cyclops, the sirens, Circe, etc.) with an entirely new layer of emotion and insight. What’s ancient somehow feels entirely new again.