My Cultural Diet

At this point, a Christopher Nolan film is an Event. And understandably so. Following the success of his “Dark Knight” trilogy, Nolan basically has carte blanche to do whatever he wants, and thankfully, he’s chosen to pursue ambitious, high-concept films with ensemble casts and the highest of production values (e.g., Inception, Tenet). His adaptation of Homer’s epic saga is no different, and for the most part, it’s perfectly fine. I was never not engaged by Nolan’s retelling, but ironically, I find it easier to point out the things I didn’t like so much about the film. The clunky dialog that occasionally confused the portentous for the profound. The herky-jerky editing, especially during the climactic assault on Troy. The sometimes questionable casting choices. (I like Matt Damon a lot, but his Odysseus often felt flat, even when he was lamenting the horrors of war.) As I type all of that, though, it feels like nitpicking, as there’s no denying the sense of ambition here, from the striking visuals (e.g., Odysseus’s journey into Hades) to Ludwig Göransson’s intense, otherworldly score. And I’d much rather seem ambition on the screen than the alternative. Unlike many big budget Hollywood films, Nolan’s films often call me back for multiple viewings — I felt compelled to watch Tenet 3 – 4 times, and now consider it my favorite Nolan film — so I’m curious to see if and how The Odyssey might further unfold after another viewing.

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