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Christopher Nolan reinvents the Homeric legend as the greatest myth of post-war chaos, a tragic crisis witnessed by the dead and presided over by demigods who participate almost as humanly. It talks about the inherent pain of PTSD; Many soldiers come home after every war, but returning to their country before the war mentally or spiritually can take years or decades and may not happen at all. An invisible odyssey of pain is followed by flashbacks, hallucinations, confrontations with inconsistent gods and dysfunction. And always married people with children can’t go on with their lives.
This is a film full of exciting aspirations, courage, dedication, generosity and creativity. There are some brush moments in the discussion, yes, but even these are used with muscle development. It features a quiet, lonely Imax scene shot by cinematographer Hoyte van Hoytema – who, fortunately, avoids the sea-type – and action sequences and battle scenes accompanied by the pounding and pounding of drums.
Matt Damon plays Odysseus, his youthful, almost cherubic face transformed into a carefree mask of sadness. He is a general from Ithaca chosen by the Greek king Agamemnon, played by Benny Safdie, his face is always hidden in a Batman-style helmet. (Another echo of Nolan’s previous work can be seen in the endless waiting of soldiers on the beach, as in Dunkirk.) Odysseus reveals to Penelope (Anne Hathaway), a woman who is about to leave and advises him to remarry if he dies in battle, that the famous reason for the war that is near Troy – Helen’o Lupita and Troy – Helen Paris seduction. It’s a banal commercial competition on commercial lines.
The final victory of the Greeks is achieved after a clever trick: the elite army hides in oppression in a huge statue of horses, which is not rolled into the walled city as a gift, but is dragged in by the victims like a precious object from the waves, half hidden in the sand. It’s a trick that involves Odysseus cheating on his friend and cousin Sinon (Elliot Page), a blood sacrifice that he feels eternally guilty about. Nolan recreates the Trojan horse as a cross between the Statue of Liberty from Planet of the Apes and Shelley’s statue of Ozymandias.
The point is that the war, its aims, its good success and its results are all insignificant compared to the long, amazing chaos of its consequences, the great noise that follows the forgotten, as anxious as the flight that follows the disaster. Agamemnon returns home to be killed; her brother Menelaus (Jon Bernthal) is also grudgingly connected to Helen, while Nyong’o also figures as Agamemnon’s killer Clytemnestra. At this time, Odysseus and his people, suffering and exhausted by hunger and loss, begin their sea voyage to escape, encountering Harryhausen’s monsters such as Cyclops, Laestrygonians and Circe (Samantha Morton), Calypso (Charlize Theron) and the fascinating birds of Sirenda who is Odysseus’ friend.
And at home, in order to slow down time and absorb the powerlessness that would result from the death of Odysseus, Penelope is forced to host many potential mates as guests in a shameful and greedy ceremony. The most famous is the terrible Antinous, which is played with great flair Robert Pattinsonwho is cruel to the blind Odysseus Eumaeus, an emotional, sympathetic portrayal of John Leguizamo. Odysseus’ mentally wounded son Telemachus (Tom Holland) must now begin his journey, to find his father, or his father’s body.
When Odysseus has to descend to the earth to speak with the dead, it is a strange and unforgettable experience: Nolan has spirits shrouded above ground like the witches in Macbeth. The dead, like the gods, can be approached in the arena; This is the mysterious pagan law of Odyssey, as subtle and familiar as the secular signs of mental disorder. And yet when Odysseus finally approaches Penelope’s house, now under brutal siege from spouses similar to the siege of Troy, he does so in the guise of Christ for a beggar. In the final passage of the story, Odysseus begins his secret transformation into a god.
One part of Homer the first one that Nolan does not include is the cruel grandfather of Autolycus, who named him and with that symbol gave the title of the story. Odysseus means “the victim of hatred” – although various translations have translated it more cleverly and consciously as “the giver or causer of hatred and hatred”. However, it is probably the most consistent name a hero can have: clear, original, present. He is not the enemy of one hatred, except in the Antinous argument, but of all hatred, the universe of hatred, the environment of hatred through which he must pass in order to reach the worst part of his homeland.
The result is a great comfort, shining, a wonderful vision of three hours of crazy events that do not give wisdom or satisfaction, but a terrible determination to continue and fight, to make sense of ruined lives, to re-enter the hot battlefield of loss.
