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Office HoursFall 2026

Nolan’s Odyssey

Some comparisons of film and text.

Passages: The Odyssey trans. Richmond Lattimore.

Viewing: Christopher Nolan, The Odyssey (2026).

Meets: Monday, September 28, 6pm–8pm, Rabbit Books & Bar, 170 Avenue A.

Host: Tim Reilly (@reilly.tim).

Topics

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The readings and music, online:
officehoursny.com/odyssey

Office HoursNolan’s Odyssey
← Nolan’s Odyssey, p. 1

1. The gods

Screenplay pp. 129⁠–⁠30; Odyssey I.32⁠–⁠34

Nolan, screenplay↗

Odysseus shakes his head, hoping she won’t be there any more. But Athena continues . . .

ATHENA

When you watch your men die do you see chance? Or do you see consequence?

ODYSSEUS

I see consequence. I see my failure.

ATHENA

What if their deaths aren’t your failing but theirs?

ODYSSEUS

I lead them. I led them here.

ATHENA

And who led you? Why do you put yourself above the Gods? Why do you claim responsibility? Why don’t you want to go home?

The Odyssey, trans. Lattimore

[Zeus, to the other gods on Olympus]

“Oh for shame, how the mortals put the blame upon us gods, for they say evils come from us, but it is they, rather, who by their own recklessness win sorrow beyond what is given.” (I.32–34)↗

In Homer’s own telling, Athena is the one god who meets people face to face. The others are spoken of in the stories characters tell (Hermes and Helios in Odysseus’s, Proteus in Menelaus’s) or act from afar without meeting anyone (Poseidon’s storms, Zeus’s thunder). The exceptions are two lesser goddesses: Calypso, who comes to him on her island’s shore (V.149–60), and Ino, once mortal and now a sea goddess, who comes to him in the storm as a seabird (V.333).

Music: “Zeus’s Law”, Ludwig Göransson.

Notice the culminating thunder.

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2. The bow, and the lyre

Screenplay pp. 20⁠–⁠21, 183; Odyssey XXI.404⁠–⁠12

Nolan, screenplay↗

EUMAEUS

Why do you always pluck your bow?

ODYSSEUS

To test the tension.


ODYSSEUS

(to Eumaeus)

It’s only fair.

EUMAEUS

To warn your prey?

ODYSSEUS

To fight with honour.

EUMAEUS

You weren’t fighting – you were hunting.


Odysseus PLUCKS the bow – A MIGHTY ‘TWANG!’ ECHOES THROUGH THE HALL . . .

Penelope PAUSES, head half-turned . . .

The Odyssey, trans. Lattimore

“So the suitors talked, but now resourceful Odysseus, once he had taken up the great bow and looked it all over, as when a man, who well understands the lyre and singing, easily, holding it on either side, pulls the strongly twisted cord of sheep’s gut, so as to slip it over a new peg, so, without any strain, Odysseus strung the great bow. Then plucking it in his right hand he tested the bowstring, and it gave him back an excellent sound like the voice of a swallow. A great sorrow fell now upon the suitors, and all their color was changed.” (XXI.404–12)↗

Music: “The Trial of the Bow / Vengeance”, Ludwig Göransson.

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3. “Heart” vs. “Mind”

Screenplay p. 134; Odyssey XX.9⁠–⁠13, 17⁠–⁠24

Nolan, screenplay↗

CALYPSO

I rebuilt your body. But I couldn’t bring myself to rebuild your mind. And you’ve been happy. But your heart was always elsewhere, your mind was bound to follow eventually.

ODYSSEUS

How could you?

CALYPSO

The lotus clouds the mind and saps the will – but it doesn’t change who you are. You weren’t ready to go home, for whatever reason.

ODYSSEUS

I am now.

The Odyssey, trans. Lattimore

“But the spirit deep in the heart of Odysseus was stirred by this, and much he pondered in the division of mind and spirit, whether to spring on them and kill each one, or rather to let them lie this one more time with the insolent suitors, for the last and latest time; but the heart was growling within him.” (XX.9–13)↗


“He struck himself on the chest and spoke to his heart and scolded it: ‘Bear up, my heart. You have had worse to endure before this on that day when the irresistible Cyclops ate up my strong companions, but you endured it until intelligence got you out of the cave, though you expected to perish.’ So he spoke, addressing his own dear heart within him; and the heart in great obedience endured and stood it without complaint, but the man himself was twisting and turning.” (XX.17–24)↗

Music: “Calypso / Agamemnon”, Ludwig Göransson.

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4. The Cyclops

Screenplay pp. 58⁠–⁠60; Odyssey IX.500⁠–⁠505, 526⁠–⁠35

Nolan, screenplay↗

CLANG. A wet helmet lands near Odysseus’s feet . . . FURIOUS, he GRABS a bow from a Soldier . . .

EURYLOCHUS

No!

Odysseus LOOSES an arrow at the Cyclops’s eye, striking near the damaged organ.


PERIMEDES

When we put its eye out . . . I heard it cry his name.

ODYSSEUS

That thing was a monster.


EURYLOCHUS

You know how many times I’ve heard you weep, praying to Athena since Troy? Couldn’t you have shown mercy?

ODYSSEUS

The Gods help those who help themselves.

Notice that Odysseus does not play his bow before shooting.

The Odyssey, trans. Lattimore

“So they spoke, but could not persuade the great heart in me, but once again in the anger of my heart I cried to him: ‘Cyclops, if any mortal man ever asks you who it was that inflicted upon your eye this shameful blinding, tell him that you were blinded by Odysseus, sacker of cities. Laertes is his father, and he makes his home in Ithaka.’” (IX.500–505)↗


“So I spoke, but he then called to the lord Poseidon in prayer, reaching both arms up toward the starry heaven: ‘Hear me, Poseidon who circle the earth, dark-haired. If truly I am your son, and you acknowledge yourself as my father, grant that Odysseus, sacker of cities, son of Laertes, who makes his home in Ithaka, may never reach that home; but if it is decided that he shall see his own people, and come home to his strong-founded house and to his own country, let him come late, in bad case, with the loss of all his companions, in someone else’s ship, and find troubles in his household.’” (IX.526–35)↗

Odysseus owns the mistake in his own telling: at the cave he says, “I would not listen to them, it would have been better their way” (IX.228). And after the curse, Zeus “was not moved by my offerings, but still was pondering on a way how all my strong-benched ships should be destroyed and all my eager companions” (IX.553–55).

Music: “Cyclops”, Ludwig Göransson.

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5. Sinon

Screenplay pp. 11, 98⁠–⁠100; Odyssey XIII.324⁠–⁠32, XIX.203, 209⁠–⁠12

Nolan, screenplay↗

The Trojans ENCIRCLE, DISMOUNT, APPROACH. They stare up at the giant Horse, indifferent to Sinon’s suffering.

FIRST TROJAN

What does it mean?

He DRAWS BRONZE, puts it to Sinon’s chin and lifts his head to look into his DYING EYES –

SINON

A gift. For Athena.


SINON

Odysseus. You lied to everyone. Did you have to lie to me?

ODYSSEUS

I needed you to believe.


SINON

You didn’t trust me with the truth? After all those years? I was a boy when I came with you to Troy. You knew I’d die for you.

ODYSSEUS

Dying men tell the truth. I needed you to believe.

SINON

I died for your lie on that beach.

The Odyssey, trans. Lattimore

[Odysseus, to Athena, after she shows herself to him on Ithaka]

“‘And now I entreat you in the name of your father; for I do not think I have really come into sunny Ithaka, but have been driven off course to another country, and I think you are teasing me when you tell me I am, and saying it to beguile me; tell me if it is true that I have come back to my own dear country.’ Then in turn the goddess gray-eyed Athene answered him: ‘Always you are the same, and such is the mind within you, and so I cannot abandon you when you are unhappy, because you are fluent, and reason closely, and keep your head always.’” (XIII.324–32)↗


“He knew how to say many false things that were like true sayings.” (XIX.203)↗


“But Odysseus in his heart had pity for his wife as she mourned him, but his eyes stayed, as if they were made of horn or iron, steady under his lids. He hid his tears and deceived her.” (XIX.209–12)↗

Sinon is a character from Virgil’s Aeneid, brought into the story by Nolan.

Music: “Hades”, Ludwig Göransson.

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← Nolan’s Odyssey, p. 1

6. The Sirens’ song

Screenplay pp. 117⁠–⁠21; Odyssey XII.184⁠–⁠96

Nolan, screenplay↗

CALYPSO

Remember. Remember your crew. Your journey. After Hades . . . did you pass the Sirens?

ODYSSEUS

The Sirens. Yes.

INSERT CUT: the Crew put BEESWAX into their ears, supervised by Odysseus . . .

Odysseus turns to Calypso, remembering, a tear appears in his eye as he marvels –

ODYSSEUS

I heard the song of the Sirens . . .

And the sound of TUNEFUL WIND takes us –

EXT. ODYSSEUS’S SHIP AMONGST ROCKY ISLANDS – DAY

Odysseus’s ship moves into a FIELD of SMALL ROCKY ISLANDS . . . Odysseus peers from rock to rock . . .

Odysseus hears the sound of the wind. Gestures to Eurylochus.

ODYSSEUS

We’re nearing the Sirens. Put wax in the men’s ears.

Eurylochus hands out wax to the men. Odysseus looks ahead to the rocks, covered in light mist . . .

Eurylochus offers Odysseus the wax.

ODYSSEUS

No. Tie me to the mast.

EURYLOCHUS

Why?

ODYSSEUS

I want to hear the Sirens’ song.

Eurylochus watches men TIE Odysseus to the mast . . .

EURYLOCHUS

This is a bad idea. No one’s heard the song and lived.

Odysseus smiles at him –

The Odyssey, trans. Lattimore

“‘Come this way, honored Odysseus, great glory of the Achaians, and stay your ship, so that you can listen here to our singing; for no one else has ever sailed past this place in his black ship until he has listened to the honey-sweet voice that issues from our lips; then goes on, well pleased, knowing more than ever he did; for we know everything that the Argives and Trojans did and suffered in wide Troy through the gods’ despite. Over all the generous earth we know everything that happens.’

“So they sang, in sweet utterance, and the heart within me desired to listen, and I signaled my companions to set me free, nodding with my brows, but they leaned on and rowed hard, and Perimedes and Eurylochos, rising up, straightway fastened me with even more lashings and squeezed me tighter.” (XII.184–96)↗

Music: “Sirens”, Ludwig Göransson.

cf. Odysseus confessional

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← Nolan’s Odyssey, p. 1

6. The Sirens’ song (continued)

ODYSSEUS

That’s why it’s a good idea – I’ll be the first. No matter how I plead, do not untie me until we’re well clear.

Eurylochus nods. Tests the knots. Steps back.

ODYSSEUS

Check the men’s ears.

EURYLOCHUS

A WEEK’S RATIONS FOR THE FIRST ‘YES, SIR!’

Nothing. The men keep working, oblivious. Odysseus nods, excited –

ODYSSEUS

Listen!

Eurylochus can hear the wind SINGING through the rigging . . .

Eurylochus reaches into the pot of beeswax, STOPPING up his ears – the sound becomes MUTED. Odysseus SHOUTS something, but we can’t hear it at all, we hear only MUFFLED THUDS of oars and feet on deck . . . Eurylochus nods his head, marking time for the rowers visually . . .

Eurylochus looks at approaching rocks covered in light mist . . . above the breakers, SEALS lie on the rocks . . . Eurylochus spots PALER forms amongst the seals, barely visible in the mist. He stares, fascinated, trying to see if they are . . . human?

Glancing at the rowers, he sees them all STARING behind him – He turns to Odysseus, then freezes, seeing Odysseus’s expression . . . Odysseus is TRANSFIXED, his expression a combination of BLISS and TERROR . . .

EURYLOCHUS (V.O.)

What was the Sirens’ song?

ODYSSEUS (V.O.)

All the things you’d want it to be. Then all things you wish you never wished for . . .

Odysseus STARES at the forms on the rocks, mouth OPEN in CRIES and CRIES, EXULTANT, FRUSTRATED . . .

A sailor, Anchialus, seeing Odysseus’s reaction, PULLS the wax from his ear . . .

FLASH-FORWARD TO ODYSSEUS SITTING ON THE DECK RELAYING HIS EXPERIENCE –

ODYSSEUS (V.O.)

It was the delicious itch you go to scratch . . .

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6. The Sirens’ song (continued)

Anchialus, in BLISSFUL MADNESS, STRUGGLES with his shipmates, breaking free – he DIVES off the side of the boat . . .

Eurylochus watches Odysseus STRUGGLE against the ropes – Odysseus looks at Eurylochus, PLEADING, CRYING, CRAZED . . .

ODYSSEUS (V.O.)

But find it’s under the skin, and can’t be reached . . .

Eurylochus turns back to the men. He can’t watch . . .

ODYSSEUS (V.O.)

So the delicious itch becomes unbearable . . .

The ship glides past the rocks, passing close enough to make out NAKED FEMALE FORMS on the misty rocks, MOUTHS OPEN in song, sitting atop BONES and BONES . . .

ODYSSEUS (V.O.)

It told you what you most want is what you most can’t have, and what you most can’t have is what you already had and lost . . .

Eurylochus turns back to Odysseus, who WEEPS BITTER TEARS . . .

Finally Odysseus SLUMPS against the ropes, passed out . . .

Eurylochus pulls the wax from his ears – once again we hear wind and water, the lapping of oars, the creaking of the deck.

ODYSSEUS (V.O.)

It was the song of all the promises I’ve failed to keep . . .

Eurylochus gives Odysseus water as the men untie him from the mast. Odysseus looks up at Eurylochus. Haunted.

ODYSSEUS

And it told me I don’t really want to go home.

Odysseus rubs tears of shame from his face. Eurylochus looks down at him. Pitying. The boat moves past the rocks into more open water . . .

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Office HoursNolan’s Odyssey
← Nolan’s Odyssey, p. 1

7. The conscience of Odysseus

Screenplay pp. 173⁠–⁠74; Odyssey VIII.514⁠–⁠31

Nolan, screenplay↗

ODYSSEUS

We left them a gift. An offering of peace that they took into their home.


ODYSSEUS

We violated all that’s ever sacred between people . . .

INT. TEMPLE OF ATHENA, TROY – NIGHT (FLASHBACK)

A GREEK SOLDIER THROWS a CRYING TROJAN WOMAN down in front of him . . .

SHE MAKES EYE CONTACT WITH ODYSSEUS – SHAKING HER HEAD, GREY EYES PLEADING FOR MERCY . . .

IT IS THE PERSON WE HAVE SEEN AS ATHENA –


ODYSSEUS (V.O.)

To burn the walls of Troy was to burn the world entire . . .

The Odyssey, trans. Lattimore

“He sang then how the sons of the Achaians left their hollow hiding place and streamed from the horse and sacked the city, and he sang how one and another fought through the steep citadel, and how in particular Odysseus went, with godlike Menelaos, like Ares, to find the house of Deïphobos, and there, he said, he endured the grimmest fighting that ever he had, but won it there too, with great-hearted Athene aiding.

“So the famous singer sang his tale, but Odysseus melted, and from under his eyes the tears ran down, drenching his cheeks. As a woman weeps, lying over the body of her dear husband, who fell fighting for her city and people as he tried to beat off the pitiless day from city and children; she sees him dying and gasping for breath, and winding her body about him she cries high and shrill, while the men behind her, hitting her with their spear butts on the back and the shoulders, force her up and lead her away into slavery, to have hard work and sorrow, and her cheeks are wracked with pitiful weeping. Such were the pitiful tears Odysseus shed from under his brows.” (VIII.514–31)↗

Music: “Odysseus”, Ludwig Göransson.

Theme is from the Sirens.

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8. The “people from the sea”

Screenplay pp. 46, 176; Odyssey IX.39⁠–⁠42, XIV.257⁠–⁠65

Nolan, screenplay↗

EURYLOCHUS

Ask him why they abandoned their village instead of welcoming us.

ELPENOR

He says they thought we were the Sea People.

EURYLOCHUS

No, we’re Greeks. From Ithaca. Maybe you heard of our victory at Troy?


ODYSSEUS

One man’s idea. One man’s trick to break Zeus’s law forever.

ODYSSEUS

We lived in a world of palaces and trade and language . . . blind to its beauty until we broke it.

Penelope realizes something . . .

PENELOPE

You are the people from the sea . . .

ODYSSEUS

The breaking of Zeus’s law is spreading like cancer. Our age of bronze is collapsing.

The Odyssey, trans. Lattimore

“From Ilion the wind took me and drove me ashore at Ismaros by the Kikonians. I sacked their city and killed their people, and out of their city taking their wives and many possessions we shared them out, so none might go cheated of his proper portion.” (IX.39–42)↗


“On the fifth day we reached the abundant stream Aigyptos, and I stayed my oarswept ships inside the Aigyptos River. Then I urged my eager companions to stay where they were, there close to the fleet, and to guard the ships, and was urgent with them to send look-outs to the watching places; but they, following their own impulse, and giving way to marauding violence, suddenly began plundering the Egyptians’ beautiful fields, and carried off the women and innocent children, and killed the men, and soon the outcry came to the city.” (XIV.257–65)↗

Both are stories Odysseus tells: the first to the Phaeacians, about his own voyage home; the second a tale he makes up for Eumaeus. Lattimore’s introduction says the second “reads like an account of one of the great raids by the Peoples of the Sea.” Homer has no phrase like Nolan’s; the nearest image is inverted: Teiresias sends Odysseus inland, to men who “know nothing of the sea” (XI.121–25).

Music: “Troy”, Ludwig Göransson.

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9. Telemachus the Prince

Screenplay pp. 13⁠–⁠16, 191; Odyssey XXII.461⁠–⁠72

Nolan, screenplay↗

TELEMACHUS

We have to welcome him like we welcomed all of you!


TELEMACHUS

Zeus’s law tells us to treat strangers as we’d be treated because they might be Gods in disguise. I think we’ve established you’re not a God, Antinous.


Telemachus leads the beggar to his own table, off to the side.


ODYSSEUS

Telemachus will be king. And we’ll head into the unknown west to honour my men. Together . . .

The Odyssey, trans. Lattimore

“Now the thoughtful Telemachos began speaking among them: ‘I would not take away the lives of these creatures by any clean death, for they have showered abuse on the head of my mother, and on my own head too, and they have slept with the suitors.’ So he spoke, and taking the cable of a dark-prowed ship, fastened it to the tall pillar, and fetched it about the round-house; and like thrushes, who spread their wings, or pigeons, who have flown into a snare set up for them in a thicket, trying to find a resting place, but the sleep given them was hateful; so their heads were all in a line, and each had her neck caught fast in a noose, so that their death would be most pitiful. They struggled with their feet for a little, not for very long.” (XXII.461–72)↗

Odysseus had explicitly ordered a clean death: “hew them with the thin edge of the sword, until you have taken the lives from all” (XXII.443–44).

Music: “Telemachus”, Ludwig Göransson.

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10. Penelope’s recognition

Screenplay pp. 169⁠–⁠71, 190⁠–⁠91; Odyssey XXIII.173⁠–⁠84, 205⁠–⁠10

Nolan, screenplay↗

Penelope leans towards the screen, breathlessly hopeful . . .

PENELOPE

Was there some detail of how he dressed . . . something he wore?


ODYSSEUS

It was a beautiful gold pin. A figure of Athena, encircled by vines.

Penelope closes her eyes.


Odysseus STEPS towards Penelope, raising a BLOODY HAND HOLDING A GOLDEN PIN . . .

The banging STOPS. Silence.

Penelope takes the pin and looks down to see the GOLD ATHENA ENCIRCLED BY VINES . . . she looks up at Odysseus, MELTING . . .

He COLLAPSES, slumped at the top of the steps . . .

Penelope takes him in her arms, wiping blood from his eyes . . .

PENELOPE

Odysseus. My love, you came back.


BANG! INSERT CUT: as Penelope boards the ship, the Figure turns from the rigging – IT IS ODYSSEUS, bandaged, beard trimmed. Telemachus is on the dock, waving . . .

The Odyssey, trans. Lattimore

[After the suitors are destroyed, Penelope lies to Odysseus that his bed has been moved]

“Circumspect Penelope said to him in answer: ‘You are so strange. I am not being proud, nor indifferent, nor puzzled beyond need, but I know very well what you looked like when you went in the ship with the sweeping oars, from Ithaka. Come then, Eurykleia, and make up a firm bed for him outside the well-fashioned chamber: that very bed that he himself built. Put the firm bed here outside for him, and cover it over with fleeces and blankets, and with shining coverlets.’ So she spoke to her husband, trying him out, but Odysseus spoke in anger to his virtuous-minded lady: ‘What you have said, dear lady, has hurt my heart deeply. What man has put my bed in another place?’” (XXIII.173–84)↗


“So he spoke, and her knees and the heart within her went slack as she recognized the clear proofs that Odysseus had given; but then she burst into tears and ran straight to him, throwing her arms around the neck of Odysseus, and kissed his head, saying: ‘Do not be angry with me, Odysseus, since, beyond other men, you have the most understanding.’” (XXIII.205–10)↗

Music: “Penelope”, Ludwig Göransson.