Homer's epic poem The Odyssey is the inspiration behind hundreds of works. First published around the 7th or 8th century BC, and first translated into English in the 16th century, its impact is incalculable. From novels, like James Joyce's 'Ulysses', to operas, such as Claudio Monteverdi's 'Il ritorno d'Ulisse in patria,' its influence can be seen in all forms of media. There have even been some notable films based on the epic poem, such as Giuseppe de Liguoro's 1911 'L'Odissea', Theo Angelopoulos's 'Ulysses' Gaze,' and even The Coen Brothers' 'O Brother, Where Art Thou?'
Uberto Pasolini is the most recent to try his hand at an Odyssey adaptation, with 2024's 'The Return.' His film- based on the latter half of Homer's 24-chapter epic- follows a battle-weary Odysseus as he washes ashore on Ithaca. Unrecognizable as the mighty warrior-king that left decades before, his dominion has fallen into decay and debauchery. As his wife Penelope is forced to choose a new suitor, and by extension a new king, Odysseus must navigate a land that no longer recognizes him, battling both external foes and his own inner demons.
Although by no means awful, Pasolini's film is fraught with issues. While the narrative is engaging, the dialogue throughout is unnaturally stilted. Moreover, the whole affair lacks momentum and tension. Further, numerous secondary characters are badly miscast, negatively affecting the film's impact. However, through their depiction of the film's central character, the screenwriters make an interesting point about trauma. Their version of Odysseus is suffering terribly, laboured by survivor's guilt and posttraumatic stress disorder (PTSD) after his time battling in the Trojan War.
Pasolini, alongside screenwriters John Collee and Edward Bond, seem to be drawing from psychiatrist Jonathan Shay's two books, 'Achilles in Vietnam: Combat Trauma and the Undoing of Character' and 'Odysseus in America: Combat Trauma and the Trials of Homecoming' in their portrayal of Odysseus as suffering from PTSD and moral injury. This modern interpretation adds a layer of psychological realism to the film, highlighting the timeless nature of war's impact on the human psyche.
By depicting Odysseus' struggles with PTSD, survivor's guilt and moral injury, the film not only stays true to the emotional depth of Homer's original work but also resonates with contemporary audiences familiar with the challenges faced by veterans. This approach allows Pasolini's film bridge the gap between ancient myth and modern reality, making Odysseus's journey both relatable and poignant.
While this is an interesting interpretation of the central character, others lack the same level of depth, and the whole screenplay feels oddly lacking, with an uneven pace that saps it of momentum. The film is full of brooding silences, which- more often than not- seem unnecessarily drawn out. Conversely, it lacks not for visual splendour. Cinematographer Marius Panduru captures the stark beauty of the landscape, emphasising its power. Although beautiful, everything on the island- from the trees to Odysseus' castle- is cold, mean, unforgiving.
Giuliano Pannuti's minimalistic production design helps ground the story, looking authentic and gritty, while Rachel Portman's subtle score compounds the drama of proceedings. Conversely, the costumes look like rejects from Zach Snyder's '300' and many secondary characters look and sound far too contemporary to be taken seriously; more like frat boys than Ancient Greeks.
However, at its heart, the film has one element that makes it worthwhile: Ralph Fiennes. One of the all-time greats, Fiennes embodies Odysseus' underlying trauma with subtlety and nuance. You can see the weight of his experiences bearing down on his shoulders, the pain of survivor's guilt. Fiennes demonstrates that vulnerability masterfully, conveying both the physical and emotional struggles of Odysseus with aplomb, while elevating the whole film around him (and, frankly, making it watchable).
Unfortunately, his supporting cast aren't up to his level, or don't get a chance to be. Juliette Binoche is completely underused in the underwritten part of Penelope, though does a lot with very little. Charlie Plummer doesn't seem at ease playing their son Telemachus, and is swallowed up by the role. Marwan Kenzari, meanwhile, deserved more to play with in an all-too-small role as one of Penelope's suitors; the same can be said for Claudio Santamaria as Odysseus' accomplice, Swineherd Eumaeus.
Ángela Molina also does nice work as Odysseus's old nursemaid, Eurycleia, although is similarly underused. On the other hand, the men of Ithaca are played by young lads completely out of their depth, who were clearly cast because of their muscles and not acting ability, of which they have none.
In conclusion, Uberto Pasolini's 'The Return' may look great, though is lacking in many areas. While Ralph Fiennes delivers a powerful performance as Odysseus, the film struggles with stilted dialogue, miscast secondary characters and an uneven pace. Despite its striking cinematography and attempts to add psychological depth to the narrative, it doesn't reach its full potential. Unfortunately, 'The Return' isn't one that you'll want to go back to.
