Review: A new take on ‘The Odyssey,’ ‘The Return’ finds its way home slowly, just like its hero
As a cinephile with a deep appreciation for the timeless beauty of classic literature and the artistry of filmmaking, I must express my admiration for Uberto Pasolini’s masterful adaptation of Homer’s “The Odyssey” titled “The Return.” While many directors have attempted to reinterpret the epic poem indirectly, Pasolini has boldly chosen to set his movie in the heart of ancient Greece, infusing a modern touch that makes this film truly captivating.
Uberto Pasolini reworks Homer’s classic poem “The Odyssey” with a personal and powerful retelling titled “The Return.” Although the story has been relevant for centuries, few films have delved directly into its events. Pasolini concentrates on the journey of Odysseus, his long-awaited return to the isle of Ithaca following years spent in battle during the Trojan War and his arduous voyage home.
Film directors often reinterpret “The Odyssey” indirectly, moving the concept of a complex journey to different landscapes beyond ancient Greece (such as in “O Brother, Where Art Thou?” or “Cold Mountain”). However, Pasolini decided to locate his movie on the island of Ithaca during the time of Odysseus. Despite this setting, there’s an element of contemporary style and narrative in his filmmaking approach.
As a devoted cinephile, I must say that “The Return” truly shines as a testament to exceptional acting. Particularly noteworthy are the performances of Ralph Fiennes, who breathes life into the character of Odysseus, and Juliette Binoche, who captivates as Queen Penelope, his wife on screen. Remarkably, these two talented actors have shared the silver screen once more after their collaboration in “Emily Brontë’s Wuthering Heights” 32 years ago, and again following their work together in “The English Patient” 28 years ago.
In the movie, Fiennes predominantly appears wearing only a shroud or loincloth (and sometimes no clothing at all), with blood splatters later on. His performance in this film might initially seem completely different from his role in “Conclave” this fall. However, upon closer examination, there are some notable parallels between the characters he plays: Cardinal Lawrence and Odysseus. Both characters reluctantly take on positions they dislike, showing a subtle sense of inner turmoil regarding their duties.
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In both “Conclave” and “The Return,” there are numerous individuals vying for leadership roles, with some men aspiring to become the Pope and others desiring the crown left behind by Odysseus. However, in both stories, the characters portrayed by Fiennes are hesitant to assume these roles, despite the significance of the positions they hold or the legacy left by their absent counterparts.
In “The Return,” there’s a distinct theatrical flair and a stunning, understated elegance in its cinematography, emphasizing the raw beauty of nature and the grandeur of the palace backdrop where this intimate tale unfolds. The screenplay, penned by Pasolini, Edward Bond, and John Collee, delves deeply into the emotional turmoil experienced by the main trio of characters, exploring the anguish of coming home from war transformed, the agony of a family uncertain about their loved one’s fate. The minimalist aesthetic strips away unnecessary elements, focusing our attention on these crucial storylines.
In ‘The Return’, numerous supporting characters get their moment to shine, such as Santamaria and Marwen Kenzari, who play Penelope’s suitors, and a host of younger actors displaying well-toned physiques. However, the film truly excels when Binoche and Fiennes are in direct confrontation, particularly scenes where Penelope feigns ignorance towards her husband, attempting to push him into reclaiming his rightful position. Each actor delivers their finest performance through subtle gestures like a quick throat movement or a downcast gaze, which convey profound emotions without the need for words.
The movie seems stuck within a narrow range of dramatic intensity, yet it maintains a sense of growing tension, hinting at an imminent climax. However, the violence that occurs falls short of the grandeur or anticipation one might imagine or desire. Despite this, there’s a subtle depth to the performances by Binoche and Fiennes, encapsulating the silent torment and sorrow reminiscent of war’s aftermath – the pain borne by those who return home and those left behind. In “The Return,” Pasolini underscores why “The Odyssey” remains timeless.
Katie Walsh is a Tribune News Service film critic.
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2024-12-06 18:02