THE RETURN

Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Claudio Santamaria, Angela Molina.

Directed by Uberto Pasolini.

One of the most significant returns in classical literature is that of Odysseus and his long journey back after the end of the Trojan War to his native Ithaca, a voyage of 10 years, many delays, many adventures, many challenges, an Odyssey.

In the past, there have been a number of films about the adventures of Odysseus/Ulysses in the 1950s with Kirk Douglas, in the 1997 television adaptation with Armand Assante and Greta Scacchi. Christopher Nolan is in production for a vast treatment of the Odyssey.

This version focuses on the last part of Homer’s epic. Which means that there are none of the adventurous and mythological episodes. It opens with a naked Odysseus stranded on the beach of Ithaca. He is found by a sympathetic slave, cared for, revives, keeps his identity secret, keeps up the appearance of a beggar.

Which means that this is a rather gripping personal drama, especially with Ralph Fiennes as Odysseus, bringing his powerful presence to the screen, the audience able to appreciate what is happening to him not only through what he says but with the intensity that Fiennes is able to communicate with his body language, manifesting, without words, much of the torment of his inner feelings.

And, there is Juliette Binoche as Penelope, the wife that he left behind, waiting for him, believing that he will return, sitting at her loom, declaring she will name a suitor after she finishes the garment, pulling it apart at night, starting again the next day. And she has been waiting 20 years, the 10 years of the war, the 10 years of her husband’s Odyssey. There is also their son, Telemachus, played by Charlie Plummer, disturbed by his father’s absence, disturbed by his mother’s behaviour, and the collapsed state of Ithaca in Odysseus’s absence.

Also of note for the film is the terrain of the island, fields, beaches, waves crashing on cliffs, waterfalls, steep mountains (filmed in Corfu), and the huge stone palace on the mountain top, fierce and foreboding, and its dimly lit interiors.

Ithaca is in chaos. There is a mounting number of suitors for her hand, lounging around, violent, demanding of Penelope. And she continues to resist, supported by her devoted nurse (Angela Molina).

And, so the questions. Will Odysseus make himself known? Will Penelope recognise him after this time? How will he encountere his son and Telemachus’s reaction? And what of the suitors and their idleness, exploiting the inhabitants of Ithaca?

The climax builds. Penelope has named the day to nominate the suitors she would choose. They gather. Odysseus in disguise is present. Telemachus is also present. And, as in the epic, Penelope demands that the suitors emulate Odysseus with his bow and arrow to be the successful suitor.

Suddenly, violence is let loose, Odysseus manifesting himself, a vicious  eruption, combat, slaughter, and the drama of the aftermath for Odysseus and Penelope, in view of what they we have seen. Will they be able to come together after the 20 years of physical and emotional distance.

With its serious dialogue, with its pauses, the intense drama, often interior, The Return plays something like an Opera scenario without the singing and music. Others have suggested that it is performed rather in the manner of a Shakespearean play. This is important to note for audiences who might have different expectations about this version of Homer, this time not the Odyssey as such, but, as the title highlights, the intensity of The Return.

(It is a surprise to find that the film has been cowritten and directed by Italian born, British director, Uberto Pasolini, a long-time producer, directing only four films including two beautifully quiet and recommended British films, Still Life and Nowhere Special.)

1. The status of Homer and his epics? Audience knowledge of the Iliad and the Odyssey? Of Odysseus, Penelope, Odysseus and his wanderings home?
2. The focus on the final chapters of The Odyssey, the title and simply, the Return? None of the popular stories of the epic? Memories of Troy, the battles, the wooden horse, the destruction? No mention of the gods, especially Athena and her role in Odysseus’ return?
3. The Greek locations, Corfu standing in for Ithaca, the cliffs, plains, waterfall, mountains? The scenes of the village, poverty and homes, the commanding palace on the mountain, the interiors, the lighting? The atmospheric musical score?
4. The screenplay, the dialogue, the interiority of the characters, interchanges? Operatic without the stylised singing? Like a Shakespearean performance?
5. The cliffs, Odysseus on the shore, naked, found by Eumaes his family, cared for, revived? Seen as a bigger, questions about the Trojan War, Odysseus and his memories, his account, regrets? The eager listening? His hearing about Penelope, the suitors, about Telemachus? Biding his time?
6. Penelope, the happy marriage, her husband going to the, the birth of Telemachus, his growing up, 20 years of the war and the Odyssey? Her waiting for her husband, devoted, her spending her time at the loom, the range of suitors, her putting them off, the loom for her father-in-law’s death? A relationship with Telemachus, his impatience, denouncing his father? The devotion of the nurse?
7. The range of suitors, their motivations, personalities, exploitation of the people, exploitation of the land, Ithaca and its collapse? The idling around the palace, the rivalries, hunting? Their being put off? A new suitor arriving and his being wounded, being thrown back into the water?
8. Antinous, his presence, devotion to Penelope, attitude towards Telemachus, the scene with his night with the slave girl? His conversations with Penelope, urging his cause?
9. Odysseus, his recovery, his going out into the countryside, his dismay? Hearing the story of the suitors? His desire to go to the palace, the episode with the dog which recognised him, the reaction of the suitors, ridicule, hostility, his asking for food? The confrontation and his ability to kill the opponents? The withdrawal of the suitors?
10. Telemachus, his criticisms, his sailing off, the dangers and his return? The suitors and their hostility? The desire to hunt him down?
11. Odysseus, food, his being washed, the nurse recognising his will and in scar, his urging her to silence?
12. The meeting with Telemachus, the revelation that he was his father, Telemachus and his hostile reaction? The hunt, the suitors, Odysseus knocking his son, Eumaes and the helpers, the pursuit, climbing the cliff, safe? Telemachus and his interactions with his father? Accusations, criticisms?
13. The pressure on Penelope, her undoing the weaving, continuing the next day, her upset and tearing it apart? Antinous and his pressurising Penelope? Her decision to name one of the suitors?
14. The gathering, Odysseus present? Telemachus? Penelope and her setting the test of the bow and the arrows? The attempts of the various suitors and their failure? Penelope telling Telemachus to give the bow to his father? Odysseus, warming the bow, twisting it between his legs, setting it up, firing the arrow?
15. The suitors and their upset, Odysseus and his firing all the arrows, killing the suitors? The closing of the doors? Telemachus, the confrontation with Antinous, his mother telling him not to kill the suitor, his killing him?
16. The consequences, blood, the deaths? Telemachus and his decision to sail away?
17. The encounters between Odysseus and Penelope, the conversations, his leaving, her devotion, the past, the war, his return, the violence, the deaths of the suitors? His turning over the loom, opening the door, ascending to the bedroom? Their talk, to understand each other, to overcome the violence in the past, sharing these memories, some forgiveness, acceptance, and hope for the future?