The Return
Ralph Fiennes and Juliette Binoche are reunited for a second time in Uberto Pasolini's drama based on the concluding episodes of Homer’s ‘The Odyssey’.
Ralph Fiennes and Juliette Binoche
Image courtesy of Modern Films.
Greek classics such as Homer’s epic poem The Odyssey played no part in my education but when it comes to assessing The Return my ignorance may be an advantage. Uberto Pasolini's new film certainly draws on that work yet, since the project is one that essentially limits itself to the last section of the story and is more a reworking than a retelling, it may well be better not to approach the film with expectations based on the original. The focus taken by the writers of the screenplay (John Collee, the late Edward Bond and Pasolini himself) inevitably excludes the various adventures that have taken place earlier (now indicated only by a few brief reminiscences) and also chooses to eliminate the role played in the original by the many gods featured. In this form the theme takes on a more timeless quality: it is an expression of regret over that part of man's nature which, in contrast to that of women, has encouraged wars. Furthermore, The Return exposes the glamorisation of war while asking if it is impossible to prevent its regular recurrence.
The Return starts on the island of Ithaca when its king, Odysseus (Ralph Fiennes), is washed ashore naked having been away for twenty years and is long supposed to have died. He had left to take part in the Trojan War, experienced the horrors of it to the full and then taken some ten years to get back. A strong man, he is nevertheless guilt-ridden and broken by his experiences (today one would think of him as a survivor suffering from PTSD) and understandably his identity is not recognised. He is soon helped to regain his strength by a swineherd named Eumaeus (Claudio Santamaria) who, unaware of his identity, is able to tell Odysseus what is now happening on the island. His queen, Penelope (Juliet Binoche) is standing in for him although she is in fact the only one who still defiantly believes that he will indeed return. Her presumed widowhood has led to her being besieged by many would-be suitors including the ambitious Antinous (Marwan Kenzari) and, since taking power is in their minds, it means that they are a threat to the life of Telemachus (Charlie Plummer), the young man who is the son and heir.
As the story develops, Odysseus arrives at the court and, although he is taken for some kind of beggar, when he indicates that he had been at Troy he finds himself in the presence of Penelope anxious to know if he has any news of her husband. Given the lapse of time and the reluctance of Odysseus to reveal himself due to his state of mind it is credible enough that even his wife does not recognise him. But in time his identity will become known arousing hostility from his son: he regards his father as having betrayed Penelope by his long absence and is also aware of rumours of other attachments that Odysseus has made while away. However, the main dramatic development occurs when it becomes evident that Penelope is no longer able to reject all the suitors and is being forced to choose one to marry. If this is to be prevented Odysseus will have to turn his back on his repudiation of violence and kill all of the suitors putting themselves forward.
Pasolini’s earlier features (this is his fourth as director) have all been relatively intimate works and none has had a period setting. Consequently, The Return is very much a new departure for him and he directs it well supported by the useful work of the photographer Marius Panduru who also worked with Pasolini on Nowhere Special in 2020. However, of the film as a whole I have to say that I have rarely come across a work that is so sound in some respects yet so weak in others. The problem here is that while this story is meant to unfold in its traditional place and time the words that we hear often fail to carry the requisite period sense. This applies particularly to some of the younger members in the cast including Charlie Plummer in the substantial role of Telemachus (he was fine in the contemporary drama Lean on Pete in 2017 but seems out of place here). How much this impression comes from weaknesses in the writing and how much it is a failure in acting or casting it is difficult to say. However, in contrast to that the drama and its period setting gain from what is one of Rachel Portman's best music scores.
That the film should so often feel to be on insecure ground is a shame because there is strong work here by Ralph Fiennes and Juliette Binoche (and indeed also from Ángela Molina in a beautifully gauged supporting performance). Fiennes and Binoche last played opposite one another in 1996 in The English Patient and here their performances match both in tone and quality – it may help that much of what they convey comes not from what is said but from their facial expressions. In the case of Fiennes, it should be said that he appears to be going through a notably good period: his recent work in Conclave has been greatly acclaimed and his performance here is no less strong which makes the uneven quality of the film all the more disappointing. Similarly, one notes how Pasolini’s direction is particularly astute when it comes to the way in which he handles the ultimate violence. It needs to be forceful and Pasolini achieves the necessary impact but without playing up the gore which would be out of tune with the theme of the film. All the sadder, then, that The Return is such a mixed bag.
MANSEL STIMPSON
Cast: Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Ángela Molina, Claudio Santamaria, Nikitas Tsakiroglou, Chris Corrigan, Jamie Andrew Cutler, Tom Rhys Harries.
Dir Uberto Pasolini, Pro Uberto Pasolini, James Clayton, Roberto Sessa and Konstantinos Kontovrakis, Screenplay John Collee, Edward Bond and Uberto Pasolini, Ph Marius Panduru, Pro Des Giuliano Pannuti, Ed David Charap, Music Rachel Portman, Costumes Sergio Ballo.
HanWay Films/Ithaca Films/ Rai Cinema/Heretic/Red Wave Films-Modern Films.
116 mins. Italy/Greece/UK/France. 2024. US Rel: 6 December 2024. UK Rel: 11 April 2025. Cert. 15.
