Fireside Friday, July 31, 2026 (On The Odyssey) – A Collection of Unmitigated Pedantry

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Bret Devereaux

Fireside

July 31, 2026July 31, 2026

13 Minutes

Hey folks, Fireside this week, as I am fresh back from a short family trip before the jaws of the Fall semester close upon me. I did get a chance to see Christopher Nolan’s The Odyssey and I wrote a review of it for Foreign Policy (alas, paywalled, I assume), although by far the most discussed review has been that of Emily Wilson, noted translator of Homer. I have a few scattered thoughts about the film that either didn’t fit into the FP piece or have been occasioned since then, which I thought I’d put here. Spoiler warnings, I suppose – Nolan does actually have a surprise or two (he is willing to bend the poem a bit to get it) – so if you don’t want that, skip to the second cat picture to get to recommendations.

Percy hard at work helping me plan out my Teaching Paradox: Hearts of Iron series.

First off as level setting, my general impression of the film: it was good. It aims to evoke emotions and largely does so. The actors are very skilled and it shows. Christopher Nolan does not like dialogue and that…also shows. As I said in my review, however, this is a ‘remix’ not a cover; Nolan feels perfectly free to put his own spin on the story, to shift themes around and so on. And that’s fine, people have been remixing the Odyssey since forever.The Odyssey. The title of Homer’s poem is the Odyssey, in Greek Ὀδύσσεια, with no definite article. That neatly makes it easy to distinguish between the two, The Odyssey (2026) and Odyssey (c. 750 BC).'>1

I think this is one place where Wilson and I part ways in our review. As a Homerist, Wilson sees everything missing in Nolan’s film, which is fine to point out but at the same time of course there is no way that anyone was going to fit all of the subtly and themes of 12,000 lines of Greek into a film that needs to run a bit under three hours. At the same time, Wilson has written her review quite sharply, with some lines that come off more cutting than necessary given that, while The Odyssey might not have been the film of Wilson’s dreams, it is evidently a ‘good’ film to judge by audience reactions.

More broadly, I can’t help but think that, in a moment where the field of Classics is quite evidently sinking, it would have been helpful to be seen as sailing with the wind of a popular new adaptation of Homer, rather than nitpicking against it. In a way, Wilson’s critique because it is written so sharply (quoth Wilson, "I would be ashamed to have written any part of this script") comes off as excessively contemptuous of both the film and its audience. There are, I would suggest, ways to make these very same critiques which avoid being so alienating in a context where Wilson must know that the media was bound to make her the ‘face’ of Classics (as indeed, they have done). Such a sharp critique risks coming off as belittling or condescending to a large audience of very enthused movie-goers (the film has a 97% positive audience rating on Rotten Tomatoes) and it is simply not a very good time for the public’s sense of classicists (such as they think of us at all) to be "The Odyssey was good and I like Homer but classicists are mean snotty killjoys who get angry when I enjoy things the ‘wrong’ way." That public perception is a recipe for more department closures, especially at public institutions (Wilson teaches at a private, Ivy League institution).

There is a resolute refusal for the highest profile members of the field (and this goes for history as much as for classics) to ever consider for a moment that they might be in a position of speaking for the field which might bring with it deeper and greater obligations; instead we acknowledge no such obligations (except as pertain to more junior scholars at less impressive schools, of course) and then act surprised as the field wilts. This is especially true of figures in tenured positions at elite private universities who are wholly insulated from the costs of alienating the public – their jobs will never be at risk – but who are often elevated in the media to speak for the field as a whole.

To return to the film , prior to release there was a lot of discussion of its ‘historical accuracy.’ Seeing the film, I think much of that discussion missed the point, as the vibe here was in some ways ‘grounded’ but also impressionistic, almost dreamlike in quality. This is especially true of the flashback sequences, told from the perspective of Odysseus or Menelaus. Notably, these are the sequences in which nearly all of the supernatural stuff happens and one gets the sense that neither of these fellows might be entirely reliable narrators. A lot of the wild armor and costumes (like Agamenon’s horse-spine helmet) exist in these sequences, where we’re really not all that tethered to literal reality anyway.

More broadly, this is a film that isn’t trying for...