A classicist\u2019s verdict: soulful hero flatters our times as women and nuance pushed overboard<\/strong><\/a><\/p>\n<\/li>\n<\/ul>\n Christopher Nolan reinvents the Homeric legend as a colossal origin-myth story of postwar disillusion, an epic ordeal of anguish witnessed by the dead and presided over by capricious deities who participate on almost equal terms with the humans. It speaks to the generational pain of PTSD; plenty of soldiers come home in person after any war promptly enough, but arriving back to their prewar state emotionally or spiritually can take years or decades and may never happen at all. The invisible odyssey of anguish is punctuated by flashback episodes, hallucinations, confrontations with the arbitrary gods of dysfunction. And all the time the spouses and children cannot move on with their lives.<\/p>\n This is a film with thrilling ambition, boldness, seriousness, generosity and flair. There are some broad-brush moments in the dialogue, yes, but even these are applied with a muscular flourish. It has gasp-inducing, Imax-sized landscapes of loneliness shot by cinematographer Hoyte van Hoytema \u2013 who, incidentally, avoids the sea\u2019s traditional cliched colour \u2013 and full-tilt battle sequences and fight scenes accompanied by the throbbing and thrumming of drums.<\/p>\n
![](\"https:\/\/i.guim.co.uk\/img\/media\/a02cad01332411e277a1e26daa38a4992b83a756\/163_236_1948_1558\/master\/1948.jpg?width=140&quality=85&auto=format&fit=max&s=62629898bdaab075bb6913b0e5da1cb0\" "\\"The")
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