Emily Wilson, the academic whose 2017 translation of Homer's Odyssey gained widespread acclaim, has delivered a scathing review of Sir Christopher Nolan's new film adaptation. Wilson, whose work Nolan cited as an influence, described the movie's script as "abysmal" and its narrative structure as "gimmicky." This critique comes despite the film receiving rave reviews from other critics and performing strongly at the box office.
Wilson's primary criticisms, published in the London Review of Books, focused on the film's lack of psychological, emotional, political, and ethical depth. She stated that none of the characters possessed convincing motivations for their actions or words. Wilson also noted the absence of sex scenes and found the depiction of food unappealing in the three-hour epic.
This critical assessment from a key literary figure contrasts sharply with the broader reception of Nolan's latest work. The film, his first since the Oscar-winning Oppenheimer, has been hailed by many as a cinematic triumph. The Telegraph declared it the "film of the year," while The Times described it as "a masterpiece in every way." These accolades highlight a significant divergence in opinion regarding the artistic merit of the adaptation.
Despite her profound disappointment with the film's execution, Wilson acknowledged its positive impact on public engagement with classical literature. She noted that the release of The Odyssey was an event to celebrate, bringing audiences back to cinemas. Wilson also observed that translations of The Odyssey, including her own, were "flying off the shelves," indicating a renewed interest in Homer's original epic poem. She expressed gratitude that Nolan's work might encourage more people to read and potentially persuade colleges to maintain their literature departments.
The film stars Matt Damon as Odysseus, Anne Hathaway as Penelope, and Tom Holland as Telemachus. Nolan reportedly used the opening line of Wilson's translation, "Tell me about a complicated man," as a guiding principle for Damon's portrayal of Odysseus. This direct link between Wilson's scholarship and the film's creative process makes her critique particularly noteworthy.
The differing views on The Odyssey underscore the challenges of adapting classic literature for a modern cinematic audience. While Nolan aimed for a grand spectacle, Wilson sought a deeper exploration of the original text's complex themes and characters. Her review suggests that while the film may succeed as a "family-friendly audiovisual spectacle," it falls short in delivering the profound intellectual and emotional engagement found in Homer's original work.
Future discussions around the film will likely continue to weigh its commercial success and critical acclaim against the nuanced perspective offered by a scholar deeply familiar with the source material. The debate highlights the ongoing tension between artistic interpretation and fidelity to original literary works in contemporary cinema.