The Return, le retour d'Ulysse

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.

The final acts of greatest poem of titan of literature cinematicly is more then good. This time Homer embodyment looks great in a sense director brings it. Thanks to the greats -Ralph and Julia whose personifications of Penelope and Odissey are of magnificent power. You can feel and touch the pain and lost both of them -Odissey not being able to come home due to God's will, so tired and not sure of everything and Penelope keeping faith and hardly understanding world of men's desire dominate at any cost. Clasic antic literature so powerful. The brutal killing scenes reveals to us that not much has changed....

The Odyssey has been adapted many times, often focusing on the fantasy and adventure elements of Odysseus' journey. This is not one of those. Starting off when Odysseus lands home on his native island kingdom, the film deals with Odysseus' inner journey of wrestling with his guilt, anxiety, PTSD, and longing to reconnect with his family after being away for 20 years. Fiennes and Binoche are superb individually and enthralling when together on the screen. Watch for their eyes, so much is said with them alone. Don't believe the low ratings, this is a fine adaptation of the deeper and human parts of The Odyssey. Not for those expecting a fast action flick.

"The Return" offered a deeply human perspective on the timeless tale of Odysseus, blending the epic grandeur of Greek mythology with a raw, emotional core.

This 2024 adaptation breathed new life into Homer's Iliad, focusing on one of its most iconic narratives-Odysseus' long-awaited return to Ithaca following the Trojan War.

What set this film apart was its decision to strip away the traditional heroism that's often associated with Odysseus. Instead, I saw a man burdened by guilt, exhaustion, and the scars of war-more flawed and vulnerable than the larger-than-life figure of legend.

This Odysseus was not the triumphant warrior of old but a soul-weary traveller grappling with the weight of his past and the uncertainty of his future.

The story unfolded against a backdrop of simmering tension in Ithaca. Penelope, Odysseus' wife, was trapped in a precarious position, besieged by suitors vying for her hand and the throne.

Her portrayal as a "prisoner of peace" added layers of complexity to the narrative, highlighting the struggles of a woman navigating a world dominated by men.

Meanwhile, their son Telemachus faced his own danger caught in the island's web of political peril-a nod to the brutal logic of ancient Greek storytelling, which has since resonated across cultures and time.

The film's emotional depth was elevated by its stellar cast. Ralph Fiennes and Juliette Binoche reunited on screen and delivered powerhouse performances as Odysseus and Penelope (resp.).

Their realistic chemistry captured the fraught dynamic of a couple separated by decades of war and longing.

The love they once shared had faded, replaced by misunderstanding and resentment, but their journey of reconnection felt achingly real.

Fiennes embodied Odysseus' internal conflict with quiet intensity, while Binoche brought a steely resilience to Penelope, making their scenes together quite compelling.

"The Return" was not a film driven by action or spectacle. It was a slow-burn character study, rich in atmosphere and emotion.

The pacing felt deliberate, but it served the story well, allowing me to empathise with the characters' struggles.

The tension built steadily, culminating in a climactic finale that delivered both emotional and narrative payoff.

What made "The Return" truly remarkable was its ability to feel both ancient and modern. While it stayed true to the spirit of the original epic, it also explored themes of trauma, identity, and redemption that will resonate with contemporary viewers.

Watching this movie felt like peering through a time-travel window, and the emotions the script evoked felt timeless. Instead of serving the role of a flashy blockbuster, "The Return" stood out as a poignant and thought-provoking piece of cinema.

The film continues to linger in my mind, a testament to the enduring power of Odysseus' story. If you're looking for a fresh take on a classic tale, this is one ship worth boarding.

--- --- --- Laudable contributions from Charlie Plummer (as Telemachus), Marwan Kenzari (as Antinous), Claudio Santamaria (as Eumaes), Tom Rhys Harries (as Pisander), Amir Wilson (as Philetius), and Jaz Hutchins (as Hippotas).

This screen adaption of the Odyssey - or rather just the part of it - is a modern take and is rather good.

Both Ralph Fiennes and Juliette Binoche are excellent, as is to be expected, and they are supported by a good cast. Charlie Plummer, in the role of Odysseus and Penelope's son, is equally good.

What stands out most from this short and low budget film is how good it is: Fiennes portrays Odysseus with PTSD with utter believability, and it makes you wonder (though you already know) what really happened to his men after the war.

The fights are also well choreographed, without many of the quick edits that hide an actor's lack of skill. In fact, Fiennes is so fit that that even the edited actions (with the bow) are believable. I wouldn't be surprised if he really did learn how to use it.

Even if you've never read the Iliad or the Odyssey, watching this movie might pique your interest in these classics.