Perhaps it’s just the rise of the long-form drama, but this just feels like a big goof most of the time. I’m intrigued by the standards of earlier mini-series. These wouldn’t have been my choices (minus the sultry Peters as Circe, a pitch-perfect role for her impish nature). Penelope is traditionally maternal (I’m a stickler for these things since reading The Penelopiad) and Telemachus really does seem like a younger version of Odysseus. In fact, his grunting responses and Conan-esque sense of right and wrong often cast him more in the light of a brutish conquerer than a sly trickster.
He’s all muscle, which seems to run contrary to the Homeric portrayal of the hero as “the first man to use his brain”. And the ship itself, clad in what appears to be a rather authentic banner is way cool (even if it isn’t period accurate).Įlsewhere, the Golden-Globe nominated Armand Assante isn’t exactly my image of the cunning Odysseus. The (Emmy winning) special effects, while limited, were probably pioneering for the level accessible to a TV mini-series of the time. That said, I think making The Odyssey palatable for a contemporary audience is a certain kind of feat. I guess I’m applying some heavy HBO standards to this miniseries, as it’s not bad, it’s just kind of hokey. We watched this briefly for my class in Ancient Greek Literature, and I thought it deserved some commentary.
This won’t be a full review (although it ought to be in two parts) since I haven’t watched the whole thing.
“You’ll lose a lot more than five years if you don’t recognize what you are!” – Circe (Bernadette Peters)