The tag in my chosen headline means roughly “beware of Greeks bearing gifts”, which anyone who has read anything about the Trojan War can understand. A huge problem for modern translators of works like The Iliad and The Odyssey is that there’s a double layer of cultural change built in before you start: the Mycenaean Greek culture of the Bronze Age — the setting of the Trojan War — is significantly different from the Greek culture of the classic era — when the oral tales were first written down (and attributed to Homer).
Classic Greek culture is often misunderstood by modern audiences through the most prominent survivals of that time: especially Greek philosophy, as the philosophers we think of as most representative of Athenian and the wider Greek culture were actually a fairly small and relatively powerless subculture at odds with the mainstream of their times.
All that said, going from a translation to an on-screen interpretation requires a lot of picking and choosing of elements to highlight and others to leave unrepresented or actively suppressed. In the most recent film of Odysseus and his extended return journey from Troy to Ithaca, director Christopher Nolan chose to portray Odysseus as a modern man in ways that may suit today’s audiences, but don’t accurately portray the Homeric interpretation or the times in which it is set:
Some viewers have described Nolan’s version of Odysseus as suffering from post-traumatic stress disorder. But moral injury is the more accurate term. It overlaps with PTSD, but it’s not the same thing. Moral injury occurs when a person commits, witnesses, or fails to prevent an act that violates his moral convictions. In war, moral injury can arise when a person does something that violates his own ideals, loyalties, or sense of right and wrong. The result is lasting guilt. A combat veteran comes to see himself as corrupt, unworthy, or beyond forgiveness.
In the film, Odysseus describes his guilt over the violence he witnessed during the sack of Troy. He is conscience-stricken about his Trojan Horse gambit. Odysseus took an object that appeared to be a gift of peace and used it as a weapon of deception. His stratagem allowed the Greeks to enter Troy, destroy the city, and slaughter its people.
But the Trojan Horse is Odysseus’s crowning achievement. Homer’s Odysseus is a wily trickster, and a trickster would not be tormented by the fact that his trick succeeded.
During his journey, he repeatedly deceives his own men for what he believes is the greater good, and these acts clearly trouble him. The war itself is remembered as grim and pointless. Men are drafted rather than rushing eagerly toward glory.
This is not Homer’s moral universe. In the poem, the Greeks rape, rob, enslave, and pillage without displaying anything like modern guilt. We can tolerate this when reading an ancient text. It is harder to tolerate when those acts are placed directly before us on a movie screen.
This may explain Nolan’s decision. Had he shown the violence of the original story without softening it, would the audience still have been able to sympathize with Odysseus?
Consider what happens to the enslaved women accused of consorting with the suitors after Odysseus returns home. Odysseus orders them to be killed, and Telemachus hangs them. Homer does not present the scene as morally complicated. Their punishment is part of restoring order.
Modern films sometimes allow their heroes to inhabit moral worlds very different from our own. Robert Eggers’s 2022 film The Northman asks us to sympathize with Viking characters who obey codes that most moviegoers today would find reprehensible. But The Northman was a mid-budget film. Nolan made a summer blockbuster that cost hundreds of millions of dollars. A blockbuster can’t afford to depict a hero from whom audiences recoil. Eggers could let his Viking be a Viking. Nolan needs his Greek warrior to be one of us.
Yet such individuals lived in societies that existed before Christian morality reshaped the Western understanding of guilt, mercy, and the value of every human life. The moral injury that afflicts Nolan’s Odysseus belongs more naturally to the AD world than the BC one.
In the film, Odysseus grieves for the men he lost and appears to blame himself for their deaths. But Homer presents that suffering as the result of pride, fate, divine anger, and human foolishness. The original story does not depict Odysseus as a man tormented by the fear that he has violated his own moral code.
The difference is clear in the episode of the lotus-eaters. In Nolan’s film, Odysseus eats the lotus because he seeks mental relief, a kind of ancient Greek version of using psychedelics to treat combat trauma. In the poem, Odysseus does the opposite. He refuses to eat the lotus and orders his men away from it.
