I might be the last person left on the fence about the new Christopher Nolan adaptation of Homer’s epic poem, “The Odyssey.” After seeing the movie, the striking word upon reflection continues to be “mixed.” The parts that everyone says are good – the cinematography, the individual performances, the aura – are really very good.
Ultimately, the reason for my mixed feelings is ontological. By its nature, Nolan’s “The Odyssey” is a post-Christian movie based on a pre-Christian story, and both aspects contain mixed-up, yet prominent, Christian themes.
“And Who Is My Neighbor [Stranger]?”
For starters, Zeus’ law to welcome the stranger is repeated in nearly every scene of the movie. Odysseus is an actual stranger, though he has since become the most famous man in the world and songs of his exploits in Troy are sung at feasts everywhere. The suitors back at his home grew up in his kingdom, yet they, too, are strangers who threaten his family and friends, and his son, Telemachus, must welcome these strangers nightly as they seek to marry Penelope, Odysseus’ wife.
In the story’s greatest irony, one that parallels the Gospels, Odysseus disguises himself as a stranger in his own home, humbling himself to infiltrate the problem at its source. He then heroically reveals his identity while defeating the enemy of those he loves.
Subduing the Supernatural
Nolan subdues the supernatural elements of “The Odyssey,” making them less obvious in hopes of making them “realistic,” or at least believable, yet one can still see the interplay of the human and divine worlds. Gods are present, but they could just as easily be interpreted as Odysseus’ hallucinations because they only slightly exceed the bounds of possibility. Likewise, the Cyclops is a monster, but his appearance could be considered a “natural” deformity akin to something seen in a medical journal.
The most powerful and seemingly explicitly Christian line from the film – one that could have come from St. Paul – comes as Odysseus discusses with Penelope the lengths to which King Agamemnon went to ensure victory: “The power of sacrifice is in the cost to the person making it." Christians recognize this truth in its most literal sense possible, as every Christian is called to sacrifice himself (cf. Rom 12:1).
Honorable Regret
The outside world, especially those who directly benefited from Odysseus’ deception, heap honor upon his name. What Nolan shows throughout the film, however, is that Odysseus’ struggle is as much internal as external. He is not at peace with his war-winning plan even to the final frame.
On the smaller, more personal scale Nolan presents his deception of Sinon, who presents the “gift” of the Trojan Horse to Troy and is killed. On the large scale, Odysseus shoulders responsibility for the sack of a great city with countless innocents killed for victory. To what end? It is suggested that his intent was to uphold the dignity of his prideful possession of his wife. Odysseus, canny as ever, mentions that underneath it is a pretense for his desire to control a valuable trade route.
For Nolan’s Odysseus, this turmoil brews throughout the film. Does he find true honor at the end?
Return Away
Even when Odysseus returns, kills the suitors, rescues his wife, and reclaims his kingdom (sorry for the spoiler, but the story is 3,000 years old), Nolan adds a unique epilogue. Without giving it away, this addendum to the story is consistent with the themes Nolan presents throughout the film. It fits this retelling even if it arguably betrays the intent of the original story.
Upon reflection, the same impression keeps coming back as I write this review – mixed. I hate to appear cowardly in saying I did not love the movie like I hoped I would when it was first announced, nor did I hate it. I cannot help but think that this mix, which will surely stimulate greater and deeper thought, was intentional.
One of the great benefits of Christianity’s desire for "re-enchantment" is that it requires Christians to re-examine their tradition with fresh eyes and insights. Any authentic re-examination pulls back layers to reveal greater depth and meaning to what was presented on the surface. Humanity has done the same for its myths, including this founding story for Western civilization. In its own way Nolan’s “The Odyssey” helps us pull back another layer of ourselves to see new things more clearly.
Mike Schramm is a husband and father of seven children. He teaches theology and philosophy at Aquinas High School and Viterbo University. You can find his writing at Busted Halo, Mere Orthodoxy, and the Voyage Comics Blog. He is also the managing editor of the Voyage Compass, an imprint of Voyage Comics and Publishing.
This culture article was made possible by The Fred & Rheta Skelton Center for Cultural Renewal, a project of 1819 News. To comment on this article, please email [email protected].
