When Christopher Nolan was promoting The Odyssey a few weeks ago, he shared a really funny story about his son humbling him. You see, Nolan closed himself off in his office to adapt the screenplay for The Odyssey, and his son came into the office and wondered where his father had put all of his Oscars (for Oppenheimer). Nolan told his son that he removed the Oscars from view because he didn’t want the pressure of writing a complicated script while eye-to-eye with all of that hardware. His son replied, “But you didn’t win for writing.” LMAO. You can be one of the greatest living directors and your kid is still going to kneecap you. I bring up this story because someone else had a complaint about Nolan’s writing: Emily Wilson, who did the 2017 translation of The Odyssey. Wilson wrote a scathing “review” of the film and one of the understatements of the year is that she loathed the screenplay. From the Guardian:
Emily Wilson, the classicist whose 2017 translation of Homer’s Odyssey was cited by Christopher Nolan in early publicity for his hugely successful adaptation of the poem, has roundly criticised the film, saying “it has nothing convincing to say” and that its “lacks psychological, emotional, political and ethical depth”.
In a scathing essay for the London Review of Books, Wilson writes: “I had hoped that Nolan’s affinity with these Homeric themes might push him to new creative heights, and enable him to conjure more believable characters. But The Odyssey features his usual combination of grandiosity and superficiality … the film’s vision is too confused, its characters too underdeveloped, to deliver what it half-promises in terms of big ideas – although it is very good at conveying big bangs and big giants.”
Wilson adds: “Nolan’s Odyssey lacks many of the elements that make the poem great. It has nothing convincing to say about time, memory, history, war, or about the relationship between one warrior’s glorious return and the lives of his family, adversaries, comrades, friends and neighbours. It lacks psychological, emotional, political and ethical depth. Its narrative structure is gimmicky. The writing is abysmal. None of the characters has convincing motivation for their actions or words. There are no sex scenes, and all the food looks horrible.”
Wilson also noted Nolan’s admiration for the opening line of her Odyssey translation: “Tell me about a complicated man” – but added: “I would be ashamed to have written any part of this script.”
Wilson, who is department chair and professor of classical studies at the University of Pennsylvania, also went on the attack in an interview with the Sunday Times, saying: “It didn’t land emotionally for me at all. Which I think is partly about the fact that, unlike Homer, it’s not very well written.”
“The characters don’t have the kind of depth the Homeric characters have. I felt, ‘Do I really care if this guy gets back to his wife?’ You haven’t given me any reason to.”
Nevertheless, Wilson acknowledged the impact the film is already having on cultural awareness of ancient Greek literature as well as cinema itself. Saying “the release of The Odyssey is still an event to celebrate,” she suggests: “This epic is bringing audiences back to cinemas … translations of Odyssey, including mine, are flying off the shelves … [and] perhaps the film will persuade a few college administrators not to cut their literature, language and history departments.”
“Nolan,” Wilson says, “is doing his best to get the general public reading again, and I am grateful.”
Fair or not? I think it’s fair. I would even go so far as to say that Nolan has never been a great screenwriter. His dialogue is often clunky, he uses amateurish tricks to introduce exposition and move the story along, and his female characters are always underdeveloped (if he even remembers that women exist in the first place). There’s a reason why his son’s burn came so easily – Nolan is a genius in many ways, but writing is not one of those ways. That being said, I actually think it was smart for Nolan to basically “dumb down” such complicated source material and make it digestible to a modern audience while still retaining the core story. Of course a literal classics professor and translator isn’t going to like that, but Wilson gives Nolan his flowers for reintroducing Greek mythology to a mainstream audience in 2026.
“There are no sex scenes and all the food looks horrible” – magnificent line.
lmao Emily Wilson went to TOWN on Nolan’s The Odyssey https://t.co/ZYV2UERMR5 pic.twitter.com/Ic25VvzR4b
— Corey Atad (@CoreyAtad) July 27, 2026
Photos courtesy of Avalon Red, Cover Images.
