{"id":1039,"date":"2026-07-18T16:11:20","date_gmt":"2026-07-18T16:11:20","guid":{"rendered":"https:\/\/relocationacrossamerica.com\/?p=1039"},"modified":"2026-07-18T16:11:20","modified_gmt":"2026-07-18T16:11:20","slug":"christopher-nolans-the-odyssey-is-pointless","status":"publish","type":"post","link":"https:\/\/relocationacrossamerica.com\/?p=1039","title":{"rendered":"Christopher Nolan\u2019s \u201cThe Odyssey\u201d is pointless"},"content":{"rendered":"

Throughout all three hours of Christopher Nolan\u2019s \u201cThe Odyssey\u201d \u2014 the acclaimed writer-director\u2019s take on the ancient Greek epic attributed to Homer \u2014 I repeatedly returned to one question.<\/p>

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This isn\u2019t entirely atypical. In the past, Nolan\u2019s films have pushed me to ponder ideas both enormous and infinitesimal; much of his work ricochets across this spectrum at a dizzying rate, which is part of why his movies, though always grand in scale, feel different from your typical blockbuster fare. Unlike many of his contemporaries working in the big-budget space, Nolan has no affection for the slow build. His films are designed to be all-consuming experiences, opening in media res, grabbing the viewer by the ankle and dragging them into action already in progress. This technique also makes them difficult to refute based on feeling alone. When you\u2019re swept up into the story immediately and held there for 180 minutes, it\u2019s harder to pinpoint exactly where the film ends and your own impression of it begins. With its exhaustive narrative breadth and action set pieces that only a budget of a cool $250 million could afford, the fact that \u201cThe Odyssey\u201d exists at all is intended to feel like a miracle. But that\u2019s precisely why I couldn\u2019t seem to shake that one nagging question: What\u2019s the point of all this?<\/p>\n

I mean, I know the point. The point is to dazzle. The point is to convey cinema\u2019s great power. The point is to remind us that there is no filmmaker working today other than Christopher Nolan who can make a movie of this size.<\/p>\n

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(Melinda Sue Gordon\/Universal)<\/span> Mia Goth as Melantho and Anne Hathaway as Penelope in \u201cThe Odyssey\u201d<\/p><\/div>\n

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Fresh from his latest victory, Nolan reaches for the stars and grazes the Gods. His determination may be admirable, but the sheer, futile arrogance of such a display backfires in equally spectacular fashion.<\/p>\n<\/div>\n

But do any of those things warrant \u201cThe Odyssey\u201d? Nolan, fresh off the success of \u201cOppenheimer\u201d \u2014 a historical biopic about the father of the atomic bomb that became a runaway hit, generating nearly a billion dollars and seven Oscar wins \u2014 had a blank check waiting on his doorstep upon returning home from Oscar night. He could conceivably do whatever he liked, go in whichever direction he pleased. And yet, Nolan returned to Homer\u2019s poem, the structural basis of almost all storytelling throughout human record, which, if you break it down more acutely, includes Nolan\u2019s filmography.<\/p>\n

Nolan has called the lack of mainstream adaptations of the work a \u201ccurious gap in Hollywood history.\u201d But I\u2019d argue the lack of \u201cOdyssey\u201d films partially stems from the fact that the text speaks for itself. Pursuing an adaptation of this caliber feels like a losing battle, something a filmmaker does just to prove that they can. Without any noteworthy changes that give the source material unexpected new meaning \u2014 significance you could only get in a movie theater, and not from the story or any of its scholarly interpretations \u2014 that air of self-importance quickly turns to a sour funk. In an ironic twist, Nolan\u2019s own ambition in adapting \u201cThe Odyssey\u201d looks something like Odysseus\u2019. Fresh from his latest victory, Nolan reaches for the stars and grazes the Gods. His determination may be admirable, but the sheer, futile arrogance of such a display backfires in equally spectacular fashion.<\/p>\n

None of this is to say that there isn\u2019t merit in a filmmaker, particularly one of Nolan\u2019s stature, wanting to explore their artistic desires. But that\u2019s also why \u201cThe Odyssey\u201d is such a keen disappointment. Someone like Nolan \u2014 who has passed just about every bar there is to pass, raised that bar, and then passed it again \u2014 probing his ambition within the context of a work as substantial as \u201cThe Odyssey\u201d should prove to be compelling in its own right. To use a recent example operating on a similar blockbuster scale, Steven Spielberg\u2019s \u201cDisclosure Day\u201d did this particularly well, assessing humanity and movies together against the backdrop of Spielberg\u2019s favorite themes. One could enjoy \u201cDisclosure Day\u201d as a solitary experience, or measure it against Spielberg\u2019s body of work to explore an even deeper meaning.<\/p>\n

Sure, one might argue that in \u201cThe Odyssey,\u201d Nolan is studying his own hubris, accepting the innate faults that come with bringing Homer to the big screen. But I don\u2019t think Nolan understands that\u2019s what\u2019s happening here, and that\u2019s because his \u201cOdyssey\u201d doesn\u2019t have anything new to say about the original text or his beliefs as a filmmaker. If anything, \u201cThe Odyssey\u201d only waters down every artistic statement Nolan has already posed.<\/p>

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(Melinda Sue Gordon\/Universal)<\/span> Robert Pattinson as Antinous in \u201cThe Odyssey\u201d<\/p><\/div>\n

Like Homer\u2019s poem, Nolan\u2019s \u201cThe Odyssey\u201d is told nonlinearly, scattered between the perspectives of Odysseus (Matt Damon), his wife Penelope (Anne Hathaway) and their son, Telemachus (Tom Holland). Ten years after the fall of Troy, Odysseus still hasn\u2019t returned home to Ithaca, and his kingdom has been overtaken by suitors crudely courting his wife\u2019s hand. As their impatience grows, the window for Odysseus to reclaim his kingdom and restore a crumbling world to Zeus\u2019 law \u2014 essentially open-hearted hospitality and treating others as you\u2019d be treated \u2014 is closing. As Telemachus travels to seek news of his father\u2019s whereabouts, or if he\u2019s even alive, Odysseus recounts his story to the island nymph, Calypso (Charlize Theron): The bloody Trojan War, a cyclops, a sea witch, dalliances with the dead, sirens, and a crew of impatient men.<\/p>\n

Nolan makes only a handful of changes to the translations of the original text. Instead of Gods like Poseidon and Zeus playing an integral role in the story, they are left as unseen forces that motivate the characters\u2019 actions. (Every 40 minutes or so, Zendaya appears to Odysseus as the goddess Athena to spout some ethereal wisdom before disappearing, but Athena plays more like a postwar trauma manifestation than an actual character.) Characters speak with a more casual, modern dialect. And, perhaps most memorably significant, the Trojan Horse is discovered half-submerged on the beach, and not outside Troy\u2019s gates on wheels. Nolan uses this adjustment to build out the film\u2019s emotional throughline: an extended rumination on the evils of war and the repugnance of men. And while it\u2019s a smart and novel twist on a colloquial metaphor that has almost come to precede Homer\u2019s poem, Nolan\u2019s Trojan Horse doesn\u2019t inspire any reflections on war that weren\u2019t addressed more directly and cleverly in \u201cOppenheimer.\u201d<\/p>\n

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(Melinda Sue Gordon\/Universal)<\/span> John Leguizamo as Eumaeus in \u201cThe Odyssey\u201d<\/p><\/div>\n

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Here, a filmmaker who managed to reach the peak of Olympus makes the prideful, ill-fated decision to hoist a ladder toward the stars, trying to get even higher, past where even the Gods can see. And truthfully, there\u2019s dignity in that curiosity, in wanting to know if greatness is all there is.<\/p>\n<\/div>\n

Every question \u201cThe Odyssey\u201d poses has been asked dozens of times before by Nolan himself, and in far more interesting ways. Here, Nolan once again returns to his pet themes of playing God, human mistreatment, the passage of time, and bearing witness to the world\u2019s slow, painful destruction. All of these things are surveyed with more thought and care in many of his other works, especially \u201cOppenheimer,\u201d but also in \u201cInterstellar,\u201d \u201cTenet,\u201d and even translated into the hyper-accessible superhero fare of his \u201cBatman\u201d films.<\/p>\n

Many great filmmakers are immersed in the same ideas, returning to them in one way or another with each film. But to do that with something like \u201cThe Odyssey\u201d is unnecessary, even haughty. Nolan attempts to assert the text\u2019s relevancy in our contemporary age, but that\u2019s not something any scholar or even the average reader would contest. This is Homer, after all, famously the foundation of all great work. What\u2019s perplexing is that Nolan\u2019s said as much himself. So why try to tackle \u201cThe Odyssey\u201d at all, if not only to \u2014 as Nolan also acknowledged \u2014 be one of the only loyal feature-length film adaptations in history, and have his name forever cemented in the same conversation as Homer\u2019s?<\/p>\n

In the second act (that is, the second hour of the film\u2019s three), Nolan gets close to revealing why. Tied to the mast of his ship as he and his crew pass the singing sirens, adorned on the jagged rocks at sea, Odysseus screams out with pain and desire. After the ship has made safe passage and the sirens\u2019 voices have drifted into the air, Odysseus\u2019 second-in-command, Eurylochus (Himesh Patel), asks him what he heard. Odysseus tells Eurylochus that their song contains everything he\u2019s ever known and everything he never wanted to admit to himself.\u00a0And, in a line of dialogue that will stick with me \u2014 one that shot straight to my heart faster than any of Nolan\u2019s oft-repeated contemplations on war or morality \u2014 Odysseus says, \u201cTheir song told me that what you want the most is what you already had.\u201d<\/p>\n

There\u2019s no better summary of Nolan\u2019s \u201cThe Odyssey.\u201d Here, a filmmaker who managed to reach the peak of Olympus makes the prideful, ill-fated decision to hoist a ladder toward the stars, trying to get even higher, past where even the Gods can see. He knows there is no foundation to hold him, nothing to prop his steps against, but he tries anyway. And truthfully, there\u2019s dignity in that curiosity, in wanting to know if greatness is all there is, or if there is something more that exists beyond what we can perceive. But both history and myth have proven that there\u2019s no measuring up to the Gods.<\/p>

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Christopher Nolan’s latest exercise in cinematic spectacle makes Homer feel hollow<\/p>\n","protected":false},"author":1,"featured_media":1035,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[17],"tags":[1356,35,4,38,26,41],"class_list":["post-1039","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","tag-blockbusters","tag-christopher-nolan","tag-commentary","tag-homer","tag-movies","tag-the-odyssey"],"yoast_head":"\nChristopher Nolan\u2019s \u201cThe Odyssey\u201d is pointless - Relocation Across America<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationacrossamerica.com\/?p=1039\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Christopher Nolan\u2019s \u201cThe Odyssey\u201d is pointless - 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