Emily Wilson, the classicist behind the buzz odyssey My generation of translations has finally given importance to film adaptations of their favorite poetry. And the shadow was so deep that Wilson’s withering takedown crashed its host site: The London Review of Books, No usually Known for his astronomical virility.
We might have guessed that Wilson wouldn’t be a fan of Christopher Nolan’s action-packed take on the epic. But the translator’s objections are layered and surprising.
He is no Cyclops. Wilson’s withering gaze falls equally on the “relentlessly didactic” sub-plots, anachronistic language, one-dimensional characters, and Agamemnon’s “weird Darth Vader costume”.
It is worth telling the poet speak for yourself. But for those of us on a mission with very little time left, here are the ten worst injuries in his review.
10.
“It’s a family-friendly audiovisual spectacle, like an elaborate display of Fourth of July fireworks – and with the same level of narrative and emotional depth.”
sincerely? This is fair enough for the initial argument.
9.
“Nolan lets the fragments of an incomplete set of big ideas swirl around in an epic whirlpool, with no solid, specific human experience to which we can cling.”
Here we get a little flowerier, a little more opulent. (Appropriate for a poetic interlocutor.) If Nolan is an Aristophanic frog, he is simply being placed in water, with it.
8.
“The trip to the Land of the Dead reminded me of the trip beyond the Wall game of Thrones“
Oh. It’s context dependent, but I think the reader can safely assume that Emily Wilson is not get fan.
7.
“Most non-white actors…play versions of the black best friend, whose sole role in the play is to provide support to the white hero…”
It’s definitely worth noting social media aisle This characterization is countered, giving some exciting performances short shrift. But this line is smart because it takes aim at the one thing some of us were excited about, re: it odyssey.
6.
“The odyssey It involves the usual combination of grandeur and superficiality.”
Now this shadow extends to Nolan’s entire career and projects. Let it start boiling.
5.
“If you’re not going to write the script in Homeric Greek… you might as well use something like conversational American English. But writing dialogue is not one of Nolan’s talents.”
i have to admit it Any screenwriter’s feelings would be hurt.
4.
“I looked at the shipwrecks and the bloodshed without any pain or emotion. My eyes remained dry, even for the dog Argos…”
Here, a “dang” from the cheap seats seems appropriate. (not even Puppy transferred him?)
3.
“…For unknown reasons, the script allows (Penelope) to do nothing but yearn for Matt Damon. The pair have no chemistry and nothing in common. During their journey, the lanky Odysseus clings to a small doll figure intended to represent his wife…the real woman is barely more interesting.”
This comes back to the criticism of Wilson’s character. And serves Damon and Hathaway in the process.
2.
“It has nothing solid to say about time, memory, history, war, or the relationship between a warrior’s glorious return and the lives of his family, adversaries, comrades, friends, and neighbors. It lacks psychological, emotional, political, and moral depth. Its narrative structure is artificial. The writing is disappointing. None of the characters have solid motivations for their actions or words. There are no sex scenes, and all the meals look terrible.”
Enough to kill any amphibian. But I missed out on food.
1.
“I would be ashamed to write any part of this script…”
Well, that’s a dead frog, guys.
