{"id":4449,"date":"2026-07-18T17:05:33","date_gmt":"2026-07-18T17:05:33","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4449"},"modified":"2026-07-18T17:05:33","modified_gmt":"2026-07-18T17:05:33","slug":"the-odyssey-what-academics-are-saying-about-christopher-nolans-epic","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4449","title":{"rendered":"\u2018The Odyssey\u2019: What Academics Are Saying About Christopher Nolan\u2019s Epic"},"content":{"rendered":"
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\n<\/p>\n
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\n\tSo, a Homerist, an archaeologist and a dentist walk into a bar.\u00a0<\/p>\n

\n\tFresh from a Thursday night showing of Christopher Nolan\u2018s \u201cThe Odyssey,\u201d a group of 17 spent the evening doing what scholars have done with Homer\u2019s epic for nearly 3,000 years: arguing about it.<\/p>\n

\u201cWe had a really robust debate,\u201d says Joel P. Christensen, editor of \u201cThe Oxford Critical Guide to Homer\u2019s Odyssey.\u201d Christensen was accompanied by retired Homer scholars (often referred to as Homerists), editors, professors, historians and various public intellectuals. \u201cAnd my wife is a dentist,\u201d he adds, \u201cso she was the red herring in the crowd.\u201d<\/p>\n

The conversation ranged from Nolan\u2019s decision to make Polyphemus (the Cyclops that Matt Damon\u2019s Odysseus stabs in the eye) nonverbal to the film\u2019s depiction of language itself. Each intellectual was fervently dedicated to a different academic discipline, yet Homer\u2019s \u201cThe Odyssey\u201d is one of the few works that transcends any single field of literature or history.<\/p>\n

\u201cI was surprised by how many academics liked it,\u201d Christensen says. \u201cI had to be restrained a few times by my wife. Everybody knows that I\u2019m the worst audience for the film.\u201d After a long pause, he continues, \u201cI\u2019ve been saying to myself: \u2018This is not Homer\u2019s \u201cOdyssey.\u201d This is Nolan\u2019s \u201cOdyssey.\u201d And it needs to be judged on different terms.\u2019\u201d<\/p>\n

Read more My 2 a.m. \u2018Odyssey\u2019: Inside the Sold-Out, All-Night Screening of Christopher Nolan\u2019s Epic<\/a><\/p>\n

\n\tThere\u2019s a palpable excitement around \u201cThe Odyssey\u201d that movie theater exhibitors have been yearning for. Beyond its colossal box office projections, it\u2019s the first feature shot entirely with Imax cameras. Over 95% of Imax 70mm screenings (the format Nolan says the film is intended to be seen in) have already sold out for the first five weeks. The spectacle is also fueling a cultural revival for classic literature in a way that academics have rarely seen before.<\/p>\n

\u201cI\u2019ve been in this business for a long time, and I don\u2019t think I\u2019ve seen anything like this,\u201d says Monica Cyrino, a classics professor at the University of New Mexico who has spent decades studying ancient worlds on screen. \u201cIt\u2019s had the impact of the OG \u2018Gladiator,\u2019 but even that didn\u2019t have the same run-up. There\u2019s already been hundreds of published academic articles \u2014 and the movie hasn\u2019t even come out yet. It\u2019s crazy!\u201d<\/p>\n

\n\tIn the months leading up to its release, Nolan\u2019s film has become a flashpoint for online culture-war debates. Critics have argued that the \u201cwoke\u201d castings of Lupita Nyong\u2019o and Elliot Page, along with certain production design choices, are historically inconsistent with the Mycenaean world traditionally associated with \u201cThe Odyssey.\u201d But after Variety<\/em> spoke with leading classicists and historians, it became clear those weren\u2019t the issues driving the conversation in academic circles.\u00a0<\/p>\n

\n\t\u201cI\u2019m really disturbed that so much of the conversation has been about how \u2018woke\u2019 or progressive this film was going to be,\u201d Christensen says. \u201cI actually think it\u2019s a very conservative film. The roles for women are constrained. The interracial casting is women of color who just get to be married to white men, which is not progressive.\u201d<\/p>\n

From a filmmaking perspective, literature and film experts alike will argue that no film in Hollywood\u2019s entire catalog of epics portraying ancient cultures has ever achieved pure historical accuracy, instead reflecting the cultural assumptions and audience preferences of the time.<\/p>\n

\u201cThese are fictional characters,\u201d film critic Alonso Duralde notes in his review of \u201cThe Odyssey\u201d on the \u201cBreakfast All Day\u201d podcast. \u201cThere probably wasn\u2019t actually a Helen of Troy. There probably weren\u2019t actually a lot of these folks. And if there were, the ancient world was a lot more mixed than we think from all the Italian sword-and-sandal epics we were given in the \u201850s and \u201860s. You had people from Africa, Asia and Europe. They had boats, y\u2019all!\u201d<\/p>\n

\n\tAs for critiques of the film\u2019s production design, whether it\u2019s the polished Trojan Horse or the costumes (many fans online argued Benny Safdie\u2019s Agamemnon looked more like a Batsuit than Bronze Age armor), Nolan has described his philosophy as: \u201cWhat is the best speculation and how can I use that to create a world?\u201d That approach didn\u2019t seem to ruffle the feathers of classicists, many of whom have tempered their expectations for what a Hollywood blockbuster is designed for: entertainment.<\/p>\n

\n\t\u201cNobody cared,\u201d Christensen laughs, speaking for his academic cohort. \u201cEven the head archaeologist didn\u2019t care. Because here\u2019s the thing: \u2018The Odyssey\u2019 is filled with anachronisms. Homeric poetry contains different historical layers. What\u2019s important is that the depiction functions as a vehicle for the audience\u2019s fantasy about the past.\u201d<\/p>\n

\n\tWhile the majority of classicists are embracing the spectacle of Nolan\u2019s blockbuster, opinions start to diverge when discussing his adaptation of Homer\u2019s language for the screenplay. As Harvard classics professor Gregory Nagy puts it, there is no single \u201coriginal\u201d version of \u201cThe Odyssey\u201d in a modern sense \u2014 that\u2019s because the poem emerged from an oral tradition.<\/p>\n

Read more W Hotels Expands Italian Footprint\u00a0With\u00a0New Sardinia Resort \u2014 and a Three-Stop \u2018Italian Tour\u2019<\/a><\/p>\n

\n\t\u201c\u2018Homer\u2019s Odyssey\u2019 was already historical fiction, reimagining an ancient past when it was first composed,\u201d says Richard P. Martin, a professor of Greek and Latin literature at Stanford. \u201cFellow classicists are happy with Nolan\u2019s version because we all recognize it is<\/em> a version. There is no \u2018correct\u2019 treatment, because every generation makes its own version of the poem, either by retranslation or revisualization in various media. All publicity about Homer is good publicity.\u201d<\/p>\n

Just as Odysseus assumes different identities to survive his arduous homecoming trek, there\u2019s a long-standing debate over whether \u201cHomer\u201d was a single author \u2014 or, as Friedrich August Wolf first argued in 1795, that the poems were the product of \u201cthe whole Greek people\u201d and were edited several times to suit changing contemporary tastes.<\/p>\n

\n\tFamously, Alexander Pope\u2019s 18th-century translation made \u201cThe Odyssey\u201d into a text about polite manners and tact, while Richmond Lattimore\u2019s 1960s translation sought to preserve the rhythms and formulas of the original Greek language. Laura Slatkin, one of the leading Homer scholars, says Lattimore\u2019s translation often feels \u201carchaic\u201d for her students at New York University because the diction is too quaint and formal.<\/p>\n

\n\t\u201cNone of them are definitive,\u201d Slatkin says. \u201cThat tells you something about the problem of translation, but it also tells you something about \u2018The Odyssey\u2019 because it\u2019s not simple enough for a definitive translation. You\u2019re building on existing resources from previous songs, from previous poetic traditions, but you\u2019re not simply repeating them or recapitulating them. You\u2019re \u2026 assimilating them.\u201d<\/p>\n

More recently, Emily Wilson\u2019s translation suggests \u201cThe Odyssey\u201d was socially progressive for its time and \u201cmeditates on what women [and other suppressed groups, broken down by race or economic status] might be capable of.\u201d She argues that \u201cHomer is, and is not, our contemporary,\u201d and that her translations (along with all the others) should be contextualized as a \u201ctext that exists in two different temporal and spatial moments at once.\u201d<\/p>\n

Slatkin described Nolan\u2019s screenplay, which Variety\u2019s <\/em>chief awards editor Clayton Davis predicts will compete for best screenplay at next year\u2019s Academy Awards, as \u201cthe newest song\u201d in a lineage of adaptations. \u201cThe Odyssey\u201d has always been a tale that contains multitudes \u2014 balancing realism and fantasy, moral certainty and reconciliation, strangeness and familiarity. Just as the ancient Greeks (and every civilization that followed them) used \u201cThe Odyssey\u201d to express their own ideas about morality, Nolan is doing the same.<\/p>\n

\n\t\u201cThe consensus I\u2019ve heard so far is that it\u2019s going to generate a lot of discussion in the classroom,\u201d says Justin Arft, a fellow Homerist and associate professor at the University of Tennessee, Knoxville. \u201cEven with all the omissions and changes, no one\u2019s too upset about that. Honestly, we\u2019re all curious \u2014 maybe confused, at times \u2014 but really interested in this as a piece of art. Nolan\u2019s film is a piece of art, and Homer is a piece of art.\u201d<\/p>\n

\n\tOnce that classroom discussion begins, academics will surely have some more words for all the creative liberties Nolan\u2019s movie takes. Martin, Christensen and several other classicists knocked Nolan for watering down the \u201csophisticated\u201d morality of Homer\u2019s poem and devoting more narrative time to spectacle, such as the fall of Troy.\u00a0<\/p>\n

\u201cI understand where the critics are coming from because I can speak in both registers,\u201d Cyrino said. \u201cWhat they don\u2019t understand is the near-term and long-term benefit this has for us as a discipline. Humanities programs are being cut everywhere, especially classics programs. I\u2019m a department chair, and I guarantee my Greek classes are going to be fuller this year!\u201d<\/p>\n

\n\tShe concludes,\u00a0\u201cYou know what Hollywood does: one thing succeeds, and 10 more follow. This is going to be great. As my husband always says, business is booming!\u201d<\/p>\n

Read more Kartik Aaryan, Mammootty, Yami Gautam Take Top Acting Honors as \u2018Article 370\u2019 Wins Best Feature at India\u2019s National Film Awards<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Christopher Nolan’s adaptation of ‘The Odyssey’ has created a lot of controversy online, but academics are having a different conversation.<\/p>\n","protected":false},"author":1,"featured_media":4448,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[105,1295,473,3585],"class_list":["post-4449","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-christopher-nolan","tag-matt-damon-2","tag-the-odyssey-2","tag-universal-2"],"yoast_head":"\n\u2018The Odyssey\u2019: What Academics Are Saying About Christopher Nolan\u2019s Epic - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=4449\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018The Odyssey\u2019: What Academics Are Saying About Christopher Nolan\u2019s Epic - 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