(Disclaimer: This article contains spoilers for The Odyssey, as it expresses the author’s opinions on the film.)
All great stories have a journey. And Odysseus’s journey home remains one of the most retold stories for centuries. For thousands of years, Homer’s The Odyssey has seen various translations, retellings, adaptations and even served as inspiration for many of our favourite films today! The latest edition to this list seems to be the biggest one yet, with Christopher Nolan taking up the task of bringing one of literature’s most beloved pieces to life.
With an A-list cast, a supposed $250 million production budget, and the title of ‘First Feature Film Shot Entirely In IMAX’, The Odyssey graced cinemas worldwide with sky-high expectations.
Nolan’s The Odyssey is the Greek Epic reimagined. But does it do Homer justice? What did Nolan change? And most importantly, does Nolan’s ‘voyage’ reach the standards set by the tale that inspired it?
Matt Damon as Odysseus in The Odyssey
What Didn’t Make The Journey?
Where’s “Nobody”?
One of my biggest disappointments came rather early on in the film. While many new fans seem to praise Nolan’s depiction of the Cyclops Polyphemus, I feel differently. The scene isn’t meant to be just a battle between man and a monster, but also a chance to showcase the wit and intelligence Odysseus has always been so highly praised for.
In the original poem, Odysseus doesn’t intend to steal from the Cyclops, hurt him, then leave. Instead, he tries to rationalise, offering up some undiluted wine to Polyphemus in exchange for escape. This shows that Odysseus, on some level, has respect for other creatures and is willing to negotiate with the Cyclops, even if this plan didn’t turn out the way he hoped.
Besides that, Odysseus reveals himself as “Nobody”, allowing him and his men to leave the cave after Polyphemus calls for the other Cyclopses. The statement that he was hurt and blinded by ‘Nobody’ ultimately causes the other Cyclopses to dismiss him. However, after having successfully escaped, Odysseus is prideful and reveals his real name. From here, the story takes root, as Polyphemus is able to call upon his father, Poseidon, to curse Odysseus’ journey home, now that he knows his name.
The ‘Nobody’ scene is what dooms Ody’s journey, and is the reason behind his decade-long journey home. Nolan practically removes all of this.
The Cyclops, Polyphemus, in The Odyssey (2026)
The Lack of Divine Intervention
One of the more obvious differences between Homer’s epic and Nolan’s film adaptation is the absence of Greek Gods.
The Gods are an integral part of both The Iliad and The Odyssey. Athena often advocates for Odysseus and mentors Telemachus throughout his search for his father, Zeus decides Odysseus’ fate, Poseidon regularly interferes, Hermes assists Odysseus in some of the story’s most important moments and Aeolus did everything he could to help him return home.
Nolan deletes all of this.
Yes, Athena appears throughout the film, but she doesn’t serve as an independent force, hell bent on ensuring Odysseus gets home. Instead, she serves as a manifestation of Odysseus’ conscience, taking the form of a traumatic experience faced by him back in Troy. She was of no actual help to him in the story, having screen time only to show disappointment, to speak in ways he didn’t even understand, and let’s face it, only because she’s Zendaya.
Nolan’s approach to the Gods (or lack, thereof) seems to be from a more human perspective. And while I appreciate the realism behind it, Homer was heavy on the Gods, and I missed them too!
Their involvement is what makes The Odyssey feel like an epic. Without the Gods, the journey feels human, and in turn, unfortunately, less mythological; less… magical. Nolan’s adaptation of Homer’s epic, in simple words, to me, feels more of a war story, when at its core, The Odyssey is supposed to be a love story.
Matt Damon as Odysseus, and Zendaya as Athena
Aeolus and Eurylochus
In Nolan’s adaptation, he cut out Aeolus and his island entirely. While this doesn’t seem that bad in terms of filming and since he didn’t want to take the God route, it unfortunately cuts some of Eurylochus’ more memorable moments.
When Odysseus asks for Aeolus’ assistance, the God of the Winds, he gladly gives our leading hero a bag filled with all the unfavourable winds en route to Ithaca. As long as Odysseus doesn’t open the bag, he and his crew will return home safely; simple terms, really.
However, the crew begins to believe the bag contains treasure that Odysseus wishes to keep for himself. Once Odysseus had fallen asleep after having stayed awake for 9 days, Eurylochus, his second in command, convinced the crew to open the wind bag. This releases the winds, sending them far away from Ithaca, just as their home was in view.
This small decision had colossal consequences, and it tells us a lot about Eurylochus. He’s suspicious of Odysseus. He questions his leadership. And because of this, he is capable of making decisions that eventually leads the crew to their deaths. It would’ve been nice to see Eurylochus drive the mutiny more strongly against Odysseus, rather than just be a part of it.
Himesh Patel performed well as Eurylochus, but I fully believe he could’ve done more with the character had most of Eurylochus’ plot points not been deleted.
Himesh Patel as Eurylochus (right)
The Olive Tree Bed
Now this one physically pains me to lose.
In Homer’s poem, Penelope tests Odysseus, dressed as a beggar, by asking for their marriage bed to be moved, knowing that if this was truly him, he’d be angry. Odysseus had built their bed himself into the trunk of a living olive tree. It simply cannot be moved. And so, his reaction proves his identity to her, leading to their heartfelt reunion at the end of the story.
This scene, to me, and to many others around the world, serves as more than just a test. The bed he built is rooted to the ground, as a symbolic representation of their marriage. It represents something permanent, something that grows, and most importantly, something that just cannot be picked up and discarded elsewhere.
After 20 years of separation, this bed, and the tree it was rooted in, stayed strong, becoming a beautiful symbol of the relationship Odysseus has spent his entire story trying to return to.
Nolan replaces this with a different test; having Penelope give Odysseus an Athena pin, to prove it was truly him when he returns home. It’s sweet, sure. But compared to what it could’ve and should’ve been, the pin falls short when compared to the marriage bed.
Because some things in The Odyssey are more than just plot points; they’re symbolic poetry!
Concept art of Odysseus’ and Penelope’s olive tree marriage bed
Anne Hathaway as Penelope (left) and the Athena pin gifted to Odysseus (right)
What Did Nolan Get Right?
A World You Can Feel
One of the reasons Chrisopher Nolan is one of the most sought after directors of this day and age is for his commitment to practical filmmaking, and passion for the IMAX cameras; The Odyssey is a perfect example of why it is so incredibly important to keep these filmmaking methods alive.
Nolan tends to embrace using physical locations, sets, effects and props to create a world that feels like it is actually there, rather than overusing green screens CGI like most films today.
And then, of course, there’s IMAX.
The decision to shoot The Odyssey entirely in IMAX cameras isn’t a marketing gimmick, but rather embraces the film’s environment on a scale and format that seems only fitting to the grandeur of its original story. Unlike regular digital cameras, IMAX cameras capture its images onto actual film strips, whose result is seen through light exposure and chemical processing. Ancient cities, ships, storms, large landscapes and even creatures like Polyphemus, Scylla and Charybdis, were all created using practical methods, shot specifically (and processed thoroughly and traditionally) with IMAX cameras.
In a world that has generally moved to digital filmmaking, there’s something so incredibly nostalgic and important about seeing a feature blockbuster film use a technique that has been around for generations, and that will hopefully stay for decades to come!
Christopher Nolan on set of The Odyssey with the IMAX camera
Practical effects used for The Odyssey
The Depth Behind Agamemnon
Besides the obvious aura-farming, I generally think there is a lot to unpack about Agamemnon. He is introduced as a king, a leader, and a man of clear authority over the rest of Greece’s leaders. He is powerful, wealthy, respected and feared. Yet, with all these titles taken away, Nolan shows us how at the end of the day, he is nothing more than just a man, hiding behind armor. He’s selfish, for his wishes of war. He is cruel, for sacrificing his daughter in exchange for favourable wins in Troy. He is revered (yet should be hated) for the countless lives he’s put at risk for demanding the men of Greece in joining his endeavors.
Yet, he was killed upon his return to Mycenae by his wife and her lover, after the sacking of Troy. Armorless, and having let his guard down, the same man who commanded armies, who is the very cause of Greek deaths for years, is reduced to nothing more than a vulnerable man.
I love this approach. With the armor, he seems almost untouchable. Yet the moment he’s stripped of it, his life is lost.
This ultimately begs the question: Who are powerful people when you take away their power? Who are the wealthy when stripped of money? Who are the leaders when left with nobody to lead?
Agamemnon’s story reminds us that regardless of how powerful someone might seem to be, there is still a person underneath it all.
Benny Safdie as Agamemnon in The Odyssey
Sound Effects and Music
A soundtrack makes a film feel complete, and The Odyssey does not fall short. From basic sounds like thunder, the crashing of waves, and the impact of weapons during battle to the film’s music such as the Siren and Ithaca scenes, Ludwig Göransson and the sound effects team were stellar.
And sometimes? The silence in the film speaks even louder, shaping anticipation and dread. During the Cyclops scene, the silence caused dread, which was followed immediately by a heart-stopping shriek of pain from Polyphemus. Contrary to this, in the final fight in Ithaca, silence stretches after Odysseus reveals himself when successfully stringing the bow. Admittedly, I sat straighter, fully anticipating the bloodshed, and Nolan’s execution for the film’s climax.
For a film based on an ancient epic, a soundtrack is needed that perfectly mirrors its history. Thankfully, The Odyssey sounds just like the epic it should be.
Soundtrack cover for The Odyssey
The Bigger Picture
While I have various criticisms for the film, it still somehow holds a spot close to my heart. Whether it’s from the prospect of Christopher Nolan, cast members I respect, the technique behind making a film of this scale or the source material, I will never know!
But one thing’s for sure: it is so incredibly important to create films based on classic literature material, and as such, I am grateful for any adaptation of The Odyssey, and many books like it.
I firmly believe that stories like The Odyssey deserve to keep being told. Whether literature adaptations remain loyal to its source material or take creative liberties, I will always respect the attempt if it means introducing these unique writing pieces to someone who may have never discovered it otherwise, especially in a world where younger generations read less and less.
Sometimes literature pieces are translated, sung, performed, filmed or rewritten. They may be adapted perfectly, they may be adapted horribly. But as long as someone is still telling them, these stories, and the people who wrote them live on!
At the end of the day, writing (and filmmaking!) is an art form. Stories have the ability to outlive the people who wrote them, and The Odyssey serves as living proof of this. An old story is never really old; it just needs someone who’s willing to tell it again.
And for the efforts taken by Christopher Nolan and the film’s cast and crew, I can confidently say that Odysseus’s story will live on for decades to come.
Written by: Ashley Anne Danker
Edited by: Anjitha Suresh
