Homeric scholar Emily Wilson has renewed her criticism of Christopher Nolan's adaptation of The Odyssey, this time focusing on the film's portrayal of "Zeus' Law," which she argues misinterprets the ancient Greek concept of xenia. Wilson, whose 2017 translation of Homer's epic poem influenced Nolan's screenplay, previously stated that the film "lacks psychological, emotional, political, and ethical depth."
Xenia, the ancient Greek code of hospitality that mandates respectful treatment of guests, even if they are disguised deities, is central to Wilson's critique. In her latest commentary, Wilson points out that while the film depicts the Trojan Horse as the ultimate transgression of Zeus' Law due to its deceptive nature, this misrepresents the law's core principles. She notes that violations of xenia in the poem, such as the suitors' mistreatment of Odysseus' dog Argos and the servant Eumaeus, are clear breaches of hospitality, whereas the film conflates this with a broader moral issue of deceit.
"The Homeric Zeus is a cunning schemer, whereas Nolan's Zeus takes a particularly hard line on deceit, especially in relationships between hosts and guests," Wilson explains. She observes that the film's antagonist, Antinous, is characterized by his poor hosting and guest etiquette, and by being a "weaselly liar."
Wilson further questions the film's narrative logic, stating that the portrayal of the Trojan Horse as the breaking point of "civilization" is nonsensical given the context of a ten-year siege. She argues that the film fails to acknowledge that the Trojans were enemies, not hosts, and that the true turning point of the war should be viewed as the decision to invade Troy or Odysseus' eventual compliance with imperial demands, rather than the stratagem of the horse.
In her closing remarks, Wilson likens Nolan's adaptation to a "Trojan horse" itself, suggesting that the film professes a commitment to kindness while its visual elements convey different values. She calls for art that offers truth about compassion and acknowledges that superficial spiritual superiority does not shield from falsehood, especially in an era of widespread misinformation.
While Wilson's expertise lies in Homeric scholarship and not filmmaking, her critiques extend to the cinematic execution of the story. Nolan has not directly responded to Wilson's assessments but has previously shared his views on amateur film critics.