What does it mean that the most anticipated film of the year is also one of the oldest stories known to humankind? Film reviewer Adam Kline reflects.
Twelve months ago film fans purchased IMAX tickets in hopes of being the first to see Christopher Nolan’s adaptation of Homer’s Odyssey. And now, this weekend, the film is expected to make hundreds of millions of dollars and break box-office records. What is it about us, as story-bound creatures, that has us returning to our own ancient narratives?
Homer’s Odyssey is one of Western civilizations oldest and most influential myths. It was an epic crafted and curated to inspire an empire. Its now infamous tropes, twists and turns predate the New Testament and even foreshadow gospel themes (as discussed recently in Christianity Today).
Very few filmmakers would be up for the task of adapting and faithfully retelling this ancient epic. Christopher Nolan, however, is exceptionally positioned and equipped, appreciated by Millenial film fans for early films such as The Dark Knight trilogy and Inception and by Gen-Z for later blockbusters such as Interstellar, Dunkirk, Tenet and Oppenheimer. Three years ago the Academy Awards finally caught up and crowned him the king-craftsman of Hollywood.
Nolan knows how to reach the masses, and his success has allowed him to hold to his convictions that the only way to tell these stories is to employ old-school tactics, which includes practical effects, shooting on celluloid and inviting audiences back to the big screen. And in the case of The Odyssey, it was all worth it.
From the first frame to the last, this is a thrilling, kinetic, episodic, awe-inspiring film. The cinematography, sound design and set pieces are, in and of themselves, great works of art to behold.
Thankfully, however, it’s much more than a technical achievement. For the first two acts of the film, we follow Odysseus (played by Matt Damon) and his men into battle. We encounter creatures of great horror, and even approach the door to Hades. But when we come to the third act and our protagonist finally returns home, and must endure one last fight in order to be reunited with his family, that is when the story sings and we’re reminded of why we were on this adventure all along.
The emotions of this final act might even catch some audiences off-guard. After two hours of epic, episodic scenes, suddenly the familial ties take centre stage, and both wife Penelope (played by Anne Hathaway) and son Telemachus (played by Tom Holland) express their aching longing for their husband and father’s return – proving that, no matter how grandiose one’s adventure might be, without a return, without the promise of home, very little will remain.
We all need to know our origin, place, people and purpose. Even in the face of battle and brutality, and years of separation, there is hope when we know our one true home remains on the horizon. But as The Odyssey reminds us, setting our course is not something we do alone. To know those we walk alongside, and to see the face of the gods (or God) in the stranger – that is the true adventure. Throughout The Odyssey we hear repeated mention of “Zeus’ Rule,” otherwise known as “the golden rule,” or what Jesus says in Matthew 7:12. It’s an ancient truth and divine command. It’s the common thread that grounds us, unites us and calls us home.
Why do we keep returning to these ancient narratives rather than concocting new ones? Because these stories are not only where we come from, they’re where we’re going.
Adam Kline is a pastor of intercultural missions and narrative theologian living in Belleville, Ont. Read his columns at loveismoving.ca/category/behind-screens.