‘The Return’ Review: Ralph Fiennes and Juliette Binoche Shine in an ‘Odyssey’ Adaptation That Burns Too Slowly

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As a lifelong fan of ancient Greek literature and cinema, I must say that “The Return” is a captivating journey back to the roots of storytelling. Uberto Pasolini’s adaptation of Homer’s The Odyssey is a testament to the timelessness of these tales and their relevance in today’s world.

In “The Return,” a soldier, Odysseus, makes his way home after years fighting in the Trojan War. He returns worn and weary, causing his friends to struggle with recognizing him. The process of readjusting to society is challenging for him, even his wife Penelope seems unfamiliar. This narrative may seem familiar, but it’s an adaptation of a part of Homer’s “The Odyssey,” set on the island of Ithaca and unfolding against the backdrop of the war at Troy. The film is debuting at the Toronto International Film Festival before its theatrical release later this year.

However, you won’t encounter gods, goddesses, or mythical beings like those crafted by Ray Harryhausen in this film. Instead, director and co-screenwriter Uberto Pasolini (known for “Still Life” and “Nowhere Special”) simplifies the story significantly, creating a stark, soberly paced narrative that might leave viewers feeling either drained or exhilarated.

The tale commences as Odysseus finds himself stranded on the seashore, the water gently touching his bare form. Ralph Fiennes has skillfully sculpted an athletic physique for this role, which is clearly evident. He encounters a swineherd named Eumaeus (Claudio Santamaria), who seems unaware of his true identity. Eumaeus informs Odysseus that Queen Penelope (Juliette Binoche) remains alive, and so does her son Telemachus (Charlie Plummer, known for ‘Lean on Pete’), who is determined to shield his mother from the numerous suitors seeking her hand. She repels them by weaving a shroud during daylight hours and declaring that she’ll marry again once it’s finished; however, in secret, she unravels her work every night.

Odysseus, sounding uncertain, inquires, ‘No woman by my side?’ This question betrays his anxiety upon his long-awaited return home after being away for twenty years. However, the villagers scornfully dismiss him, mockingly replying to his humble query, “A reward for an old warrior?” with jeers and insults. But when provoked into a fight, Odysseus demonstrates his combat prowess, overpowering his larger and younger adversary.

Odysseus’ faithful old hound, now weakened with age, immediately recognizes his master upon reunion, passing away contentedly shortly thereafter. However, when Odysseus is reunited with Penelope, she does not recognize him at first, bombarding him with questions to learn about her husband’s survival. The scene, predominantly set in shadows, is powerfully portrayed by Fiennes and Binoche, their emotive faces conveying far more than the mostly quiet characters themselves.

As I immerse myself in this cinematic odyssey, I find myself drawn into the gradually unfolding tale of Odysseus, who emerges from obscurity, both physically and symbolically, facing adversaries like Antinous, Penelope’s cunning suitor (Marwan Kenzari, known for his role in Aladdin), and Eurycleia, a former housekeeper who shows unwavering loyalty (Ángela Molina, star of Live Flesh). Eventually, tensions reach their peak during an archery competition, where the victor is to be Penelope’s husband and the new ruler. In a swift turn of events, Odysseus enters this contest, transforming it into a gruesome bloodbath.

Similar to how Pasolini, Pier Paolo, approached his stories, this film uses a sparse, minimalist style and heavily relies on the powerful performances of Fiennes and Binoche as the tragic, long-separated lovers who have fallen into emotional desolation. The storyline featuring Plummer’s Telemachus, however, feels less convincing, with the young actor appearing to struggle with his role and coming off as too modern. Directed by Pasolini, in collaboration with John Collee (Master and Commander: The Far Side of the World) and the late Edward Bond (Blow-Up), the film utilizes a stark visual aesthetic, with basic costumes and settings serving as minimal distractions. Although effective for a time, the nearly two-hour length of the movie eventually becomes challenging due to its austere nature.

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2024-09-11 22:25