How Greek! Why does Christopher Nolan’s new Greek epic have no Greeks? | | Video

There are American accents, shiny suits and mud Dunkirk palette. And there’s Lupita Nyong’o as Helen of Troy, a choice of her own recently drew racist backlash from moaners onlineincluding Elon Musk, who complained that it was not true. Facts are important. He is looking completely in the wrong place. For many Greeks, the biggest concern in the first look at Christopher Nolan’s adaptation of Homer’s Odyssey is the whereabouts of Billy Zane.

Zane, like other beloved members of the Greek diaspora in Hollywood, recently appeared on the series “Alternative Odyssey” on the Greek social network, and in dinner table conversations from Patras to Palmers Green. (Theo James, Jennifer Aniston, Hank Azaria, and Dave Bautista are among the other nominees.) Greek and Greek Cypriot platforms are write open letters. It’s a sign of feeling left out by Hollywood, again and without explanation, from our original legends and classics, with a list that doesn’t even have an -opoulos, -edes, or -iannou symbol. Not a single Greek.

Nothing new here. From Jason and the Argonauts (1963) to Troy (2004), Hollywood has been writing Greek stories for generations without much concern for Greek representation – unless it suits their interests.

As a film critic, I’ve groaned at my share of the sarcastic, dish-smashing, wretched “Zorbas” in Mamma Mia! (2008) or Shirley Valentine (1989). In sword-and-sandal epics, Hollywood often feels unable to include the modern and legendary Greeks Achilles and Odysseus, or our historical ancestors Alexander and Leonidas. In other words, modern Greeks and our ancients are always excluded. So, are we worthy of our myths?

“Indeed, there is a sense that the Greek worldview is more Zorba than Achilles,” says Greece’s leading film researcher Thodoris Koutsogiannopoulos. “I find it disappointing, and lazy, that so many go on, over and over and over again about what Greece really is… It would be nice to see a Greek or two among the stars, but it would be amazing if it happened.”

Many – myself included – think so Nolan’s epic It can be based on the situation, it can raise the real Greek actor to be uncomfortable. After all, Homer isn’t short on letters.

In fact, if you pass the big stars – from Matt Damon (who has just been shown, like a Greek god, in churches Photo shoot for GQ) as a wise Ithacan, to Zendaya, Tom Holland, Charlize Theron, and Jon Bernthal, to supporting actors Himesh Patel, Will Yun Lee, and Travis Scott – it is clear that Nolan chose his actors to be “representative of the country”, in Nyong’o’s words.

A noble goal. But for us Greeks, it makes our absence all the more conspicuous – especially during the blockbuster event of the year. If your film is going to represent the world, wouldn’t it be obvious to fill one place at the big, multicultural table with people who are most closely related to the source?

Ironically, those who shout the loudest about “authenticity” fail to notice that there is not a single Greek in this film. Not that it matters to the likes Musk and his evil intentions – but he couldn’t be more wrong.

For the Greeks, the exclusion has another meaning: that ancient Greek mythology is seen as part of the Western heritage – universal literature – while the Greeks are otherwise. Worse, it shows that modern Greeks (especially after decades of economic crisis) no longer seem to be in control of these issues – a view that is inconsistent with the views used against the restoration of the Parthenon stones.

Nolan’s film also arrives at a different time than previous sword-and-shoe films, such as 2004’s Troy. Hollywood treads carefully to pay for the cultural changes it needs, and this is not lost on the Greeks. “That’s all we’re talking about,” a friend of mine in Athens, a movie star, told me. “In Hollywood, Greek mythology seems to be out of step with the current discussion about other cultures.” None of us are relying on leadership roles. But the film industry in Greece is moving quietly – with Yorgos Lanthimos, Athina Tsangari, and others, introducing domestic actors like Angeliki Papoulia. As for our diaspora, Theo James’ turn in The White Lotus proves to be a charismatic Antinous. If Nolan wanted it, the talent was there; It is unlikely that any player today would resist that call.

Of course, many non-Greeks will ask: What’s all the fuss about? The Odyssey it is fiction, after all. However, it is difficult to overstate the impact these issues have on our culture today. Growing up in a Greek family in London, legends are remembered in such a way that I have to admit to willingly believing that there was a great Trojan war and maybe some kind of hoax involving a giant wooden horse. My mother puts clay pots with the names of ancient heroes under the icons of the Orthodox church, and I have my cousins ​​Achilleos, two aunts Athenas and a Cretan friend named Odysseas. In Greek schools, young children learn to recite Homer’s poems in Ancient Greek, and the words are used in everyday conversation.

Myths like The Odyssey, once a cornerstone of world literature, have a profound effect on Greek consciousness and on our collective sense of identity – as a people, not a nation. I think it would be the same for the Indian Hindus and their Mahabharata or the Polynesian mythology that inspired Disney’s Moana. All said, I’m sure that the Greek audience can’t wait to see Nolan’s movie – internet weirdness and faulty equipment aside – because above all Christopher Nolan exhibitions, we enjoy seeing our heritage displayed.

Yet as Hollywood emphasizes representation, stigma creates a doubly strong response. The debate in Greece surrounding The Odyssey’s casting reminds me of the main theme of the poem: no – returning home, after years of trials and obstacles. We Greeks are just asking not to be booked on the trip.