An Uncomplicated Man - "Zeus’ law is a version of archaic Greek xenia: the idealised relationships between strangers, hosts and guests, who must treat one another with mutual respect, thereby forming multi-generational bonds between unrelated families. In the film, xenia is filtered through contemporary American ideas about the importance of philanthropic charity: wealthy people should be gracious towards the poor and hungry in their midst (without necessarily doing anything to mitigate their poverty). Many of the film’s implicit values directly contradict those of Homer’s poem. Deception, warmongering, extramarital sex, cruelty to animals, abusing women and yearning for honour – all perfectly fine in the world of Homer – are, in this version, very bad. This is not in itself a problem, but it is a problem if the film’s own values and vision don’t hang together, and if the characters’ motivations don’t make sense on their own terms.
"In Nolan’s Odyssey, slaughtering people with the help of trickery, technology and weapons is presented as bad when the Greeks are killing the Trojans, who have violated xenia, but good when Odysseus is killing the suitors, who have violated xenia. Taking something ostensibly abandoned by Odysseus and his comrades is natural and forgivable when the Trojans lay claim to the horse, but unnatural and unforgivable when the suitors lay claim to Odysseus’ palace, food, wine and wife. Strangers in Ithaca are to be treated with gracious kindness, as possible gods in disguise; but strangers in foreign lands are usually monstrous, to be blinded, robbed and slaughtered. Defying the gods is noble and brave when Odysseus blinds Polyphemus, son of Poseidon; it’s stupid and greedy when Eurylochus eats the Cattle of the Sun. Deception is bad when Odysseus tricks Sinon or the suitors trick Telemachus, but good when Telemachus and Odysseus trick the suitors. Sharing is good, and Odysseus is seen taking his place at an oar alongside his men; but one-man rule is also unambiguously good, and those who challenge monarchy or autocracy, or try to eat more than their allotted portion, are either evil (the suitors) or foolish (Eurylochus). Either way, they have to die. It is bad to fight and kill to accumulate wealth, as Agamemnon does; it is good to fight and kill to preserve the wealth that you have already acquired (even if by war). Any one of these moral contradictions could make for an interesting and generative theme in a movie, but Nolan lets the fragments of an incomplete set of big ideas spin around in the epic whirlpool, with no plank of solid, specific human experience to which we might cling.
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"Nolan’s Odyssey lacks many of the elements that make the poem great. It has nothing convincing to say about time, memory, history, war, or about the relationship between one warrior’s glorious return and the lives of his family, adversaries, comrades, friends and neighbours. It lacks psychological, emotional, political and ethical depth. Its narrative structure is gimmicky. The writing is abysmal. None of the characters has convincing motivation for their actions or words. There are no sex scenes, and all the food looks horrible."
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