I don’t know about you, but I’m rather excited to see The Odyssey, Christopher Nolan’s cinematic take on Homer’s peerless epic poem.
Ignoring all of the tedious internet chatter and naysaying from self-appointed experts who really should take the time, in the very spirit of their beloved wandering Greek hero, to go outside and touch some grass, early signs point to the blockbuster to end all blockbusters. Reviews seem positive, to say the least.
Nolan at the helm? Check. A star-studded cast working at the top of their respective games? Check. One of western literature’s greatest stories providing the riveting source material? You betcha’.
“But they’re not using the original overlapping bronze armour, and those helmets should be made of boar hide. And why does Odysseus have an American accent?”
Go dump yourself in the River Styx.
I’ll be booking my tickets to The Odyssey as soon as I can, and while my optimism might end up crashing down like the walls of once-glittering Troy itself, I’m relatively confident that you should be doing the same.
Forget Avengers: Doomsday, the cinematic event of the year is here!
The second-best composer named Ludwig
I’m excited for all of those aforementioned reasons of director, production and cast, but I’m also keen to see The Odyssey on the big screen because it once again brings together two of cinema’s most potent trump cards: Christopher Nolan and his composer du jour, Ludwig Göransson.
Nolan has recruited the services of the ever-enthralling Hans Zimmer for many of his greatest barnstormers, including the Dark Knight saga and Interstellar, with Göransson latterly becoming a sort of Zimmer 2.0 as he begins to forge his own reputation as one of the world’s premier composers.
This is the man who did the music for Disney Plus’s The Mandalorian and, under Nolan’s charge, Oppenheimer. Projects don’t get much bigger than that.
The Oppenheimer score is, while we’re on the subject, truly worthy of the movie which it accompanies – we use Can You Hear The Music regularly as a track for testing home cinema and hi-fi – but it is Göransson’s work on the lesser-know (certainly less-understood) blockbuster Tenet that has me setting sail on my Trireme and making for the multiplex to discover what the Swedish composer can do for The Odyssey.
If you’ve seen Tenet, you’ll know exactly the sort of challenges which must have faced Mr. Göransson as he prepared to give it his best. About as confusing as trying to solve a Rubik’s cube inside a hall of mirrors, it stands alone as one of the most mind-bending and elliptical of all of Nolan’s creations.
When you consider this is the man who gave the world Memento and Inception, that’s some feat.
A soundtrack built to last
Thankfully, the accompanying score is a triumph, and one I use often whenever I’m digging deep into the capabilities of a new pair of headphones or a box-fresh (but properly run-in, of course) amplifier. In fact, it’s become something of an obsession even when I’m outside the test rooms – a sort of musical comfort blanket that I don’t seem to be able to take off.
POSTERITY is the track that has lodged the deepest roots in my psyche – so much so that I’ll often simply whack it on without thinking whenever I have a spare moment of silence which needs filling, lest the voices are given room to make themselves heard.
At nearly 13 minutes long, it is by far the longest track across the Tenet score, yet what’s remarkable about POSTERITY is that not a second feels wasted across what is a sprawling, Herculean runtime.
That obviously means you’ll need to set aside quite a bit of time if you’re using it for testing; but the reward is worth the considerable effort. POSTERITY, in the same vein as Hans Zimmer’s Supermarine (written for another Nolan movie, Dunkirk), is all about the progression, about the slow but inexorable build-up as it rises and swells from glowing embers to a roaring, engulfing blaze.
Not once is that repetitiveness ever dull. POSTERITY has such a potent sense of momentum that it enraptures from its first note, hooking you in by virtue of its unrelenting intensity and strange, hypnotic instrumentation. I have previously described some of the sound produced as being like a zither being whacked with a bit of old drainpipe, and in truth, I’m yet to come up with a better description.
Drainpipe and zither it is.
There’s a lot, then, for your system to capture. Not only that inexorable build as the composition becomes denser and more intense, but the very particular tone and feel of the piece conjured by its oddball instrumentation and unique soundscape. It’s also a treat if you want to see how your system conveys both small-scale and big-picture dynamics, from the chuntering analogue synthesisers to the intermittent stabs of drums and pianos.
Or it might just be one piano, singular.
You don’t have to stop at POSTERITY, either. FREEPORT recruits those strange zither-like synths to great effect, again trading on continuous instrumental loops punctuated by intermittent percussive whacks and electronic pulses to keep your system’s dynamic reproduction honest.
Or, if you want something quieter and more delicate, the sparseness of THE PROTAGONIST is well worth seeking out, offering up woozy synth rumbles accompanied by a rich, mysterious guitar.
RAINY NIGHT IN TALLINN makes for a similarly keen showcase of how well a system or set-up can really put a piece of music together. It bounds constantly between a mesh of styles and tones in a manner that is as bamboozling as Tenet’s very subject matter.
RAINY NIGHT accompanies the movie’s intense ‘opera siege’ opening scene, so if you want the full audio visual experience, seek it out to see how sound and screen work together in harmony.
As an aside, it’s well worth watching Tenet for its peculiar use of music and non-diegetic sound. For instance, the accompanying soundtrack will often be too loud or overbearing as a way of expressing – or perhaps masking – the mood and intentions of the characters on-screen. Check out this scene in particular and you’ll get the idea.
Music maketh movie(s)
Music is just as important to a great movie as anything on the screen itself – Charlie Chaplin and Buster Keaton aside, sound and sight go hand in hand when delivering the true masterpieces of modern cinema.
Where would Star Wars have been without John Williams? How diminished would the Lord of the Rings trilogy become without Howard Shore? Where is Sergio Leone without Ennio Morricone?
While the prospect of Christopher Nolan directing an adaptation of Homer's Odyssey is sufficient to have most right-headed people champing at the bit to get to book a screening, the addition of Ludwig Göransson providing the music should be more than enough to have you hammering on the doors of your local Cineworld as if they were the gates of Ilium itself.
Around this time last year, my local cinema closed – seemingly for good. Defying all odds, its doors are once again open, meaning I’ll be able to experience for myself the sights and sounds of Nolan’s epic adaptation in all of the 12-channel, Dolby Atmos-powered glory. It’s not quite the Waterloo IMAX, but it’s the next best thing.
The Odyssey has all the makings of a milestone cinematic event. Now that it’s finally in cinemas, I can’t wait to see – and hear it – for myself.
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