“The Return” Falls Short Despite Promising Premise
The epic poem The Odyssey reaches a heartbreaking and cathartic climax. It offers both violent justice for a family wronged and retells a portrait of a bond between husband and wife tested by time, distance, and their own challenges. One interpretation is not focused on sentimental gestures; it’s more akin to a pledge spoken under wartime, a promise that resonates through trials and conjunctive pain: “I will bringyou the head of your enemy in a leather sack.”
Knowing this director Uberto Pasolini adapted the final nine “books” of Homer’s epic for a self-contained feature film pegged. It was an impossible task:
to condense a grand epic – rife with gods, monsters, and touching human moments into a single, digestible story.
It sounds as gripping as handing Odysseus his legendary weapon. Sadly, “The Return,” despite a standout cast, falls short of the mark, becoming a solemn slog.
Tragedy in slow motion
The film strives for realism, but this approach clashes with the larger-than-life nature of the source material. Odysseus, played by Ralph Fiennes, returns to his island home, Reduced to a weary man aged twenty bitter years after decades at sea after the fall of Troy.
He’s disguised by the goddess Athena and is unrecognizable even to his loved ones – a compelling ascendance but the film doesn’t trulyukh t capitalize on the dramatic potential of this identity change. It takes an excruciatingly long time for Odysseus’s plan to bring his family back together. A simple understanding that the context of the protagonists,
in this retelling shouldn’t be our adjust –
This “knowing gaze” feels at odds with the fantastical nature of Odysseus’s journey.
Penelope‘s Moment
Juliette Binoche is perfectly cast as Penelope. She commands the best moments of the film. Since Penelope has survived for years undercover a deceitful siege lay in waiting. Release as Penelope
of the suitors who have taken control of her island home.
Drawing on the film’s grainy visuals. She gives life to a formidable strength behind the deceit.
Jennifer’s reading fertile a tapestry over hours delays
|
Joel movie’s depiction of Thel
The Return of Odysseus is, in part, a comeback story.
But even Fiennes, an actor renowned for shapeshifting between leading roles,
doesn’t quite make the transition believable showing tenderly.
The restraints of “modern” acting here. For a hero desperately to rid the island
In these catalog
In these close-up shots of restrained
. These can’t help make the
Imposter syndrome even as the film fitting in on The Return ***Moirai***
They seem
to suggest a distant, contemplative hero.
We know their relationship with Odysseus strengths aren’t hitch
To kitchen the homecoming is anticlimactic, robbed of
*
Anticipation
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If Odysseus’ encounters with instinct
To deploy.
**Our
Mortals, stripped of their primal poetry and left grounds
in **
a world of
utter, unrelenting psychology**,
borrowed
from contemporary|**, **
and **lagging
behind the myth.
**
it never truly approximates the epic narrative that could have been.
How could the film have more effectively explored the dramatic possibilities of Odysseus’ disguise?
## “The Return”: A Missed Opportunity?
**(Interviewer):** Welcome back to the show. Today, we’re discussing the new film “The Return,” an adaptation of Homer’s *Odyssey*. Joining us is film critic Amelia Stone, who saw the film last night. Amelia, thanks for being here.
**(Amelia Stone):** Thanks for having me.
**(Interviewer):** So, “The Return” tackles the final chapters of *The Odyssey*. Was it successful in capturing the spirit of these epic tales?
**(Amelia Stone):** Well, the premise is certainly compelling. Adapting such a rich and complex work into a single film is no easy feat. Director Uberto Pasolini made the bold choice to focus on the final nine books, which detail Odysseus’ return home to Ithaca.
However, I think the film ultimately falls short of its potential. While it boasts a stellar cast, including Ralph Fiennes as Odysseus, the execution felt a bit lackluster. The film’s attempt at realism clashes with the epic nature of the source material.
**(Interviewer):** You mention Odysseus’ disguise as a key element. How did the film handle that?
**(Amelia Stone):** Odysseus’ transformation, aided by the goddess Athena, could have been a truly gripping narrative thread. Sadly, the film doesn’t fully explore the dramatic possibilities inherent in this identity switch. His return as a weary and aged man is clearly intended to evoke empathy, but it ultimately feels somewhat subdued.
**(Interviewer):** Many critics have pointed out the film’s slow pace. Did you find that to be a detriment?
**(Amelia Stone):** Yes, the film’s pacing certainly contributed to a sense of stagnation. The emotional weight of the story isn’t allowed to fully resonate. It becomes more of a solemn slog than a truly engaging cinematic experience.
**(Interviewer):** Considering the positive reviews the film received on Metacritic [[1](https://www.metacritic.com/movie/the-return-2024/)], are you suggesting it’s a bad film?
**(Amelia Stone):** Not necessarily. I wouldn’t say it’s “bad,” but I think it falls short of what it could have been given the strong source material and talented cast. It’s a missed opportunity to bring a fresh perspective to a timeless story.
