Review by I_Ailurophile

With the rare pairing of two actors as great as Ralph Fiennes and Juliette Binoche, it's surprising to me that this wasn't met with a bigger reception upon release. Many actors are fantastic when it comes to drama, but few more than Fiennes and Binoche - and this title, with its premise zeroing in on a less fantastical and less remarked chapter of 'The odyssey,' is ripe with potential for hearty exploration. Thankfully, filmmaker Uberto Pasolini has not wasted that potential, but has instead ably risen to the challenge. It has been a very long time since I read Homer's epic but much of it remains fairly fresh years later, and as Pasolini and co-writers John Collee and Edward Bond adapt that portion in which Odysseus returns to Ithaca as Penelope fends off suitors, they blend the ancient verses with universal themes and some notions more commonly seen in the cinematic medium. I wouldn't go so far as to say that 'The return' is some revelation, or a total must-see, but it's unquestionably excellent, and anyone who appreciates the ponderous drama that the scenario portends owes it to themselves to check this out.

For all the whimsical adventure that 'The odyssey' portends with its witches, monsters, transformations, and gods, what is typically overlooked is the very human and emotional core of the saga. That is what Pasolini fervently focuses upon as we see a queen who is loyal, faithful, and hopeful, but desperate; a king who in body, mind, and soul has been lost for many years, and who bears the deep scars of that journey; and a kingdom that has fallen into ruin, devastated equally by its lack of leadership and by the thugs who take advantage of that perceived vacuum. Even more to the point, there is hard emotional depth and nuance to this telling of the tale that is far removed from the often glorious but superficial treatment of the fancy that typically characterizes these beats and those that precede them: moments of beauty, grace, catharsis, relief, and love are arguably outnumbered and threaten to be overwhelmed by those of resentment, regret, festering self-loathing, pain, and ugliness. Emphasizing the point, the anticipated climax gently shifts from serene, to triumphant, to horrific, and the ending allows the whole to conclude on an optimistic note while refusing the concrete satisfaction that moviegoers are largely accustomed to.

Through it all, every inch of these two hours was crafted with the unmistakable care of commensurate professionals and experts of their trade. True, we might say that the "vibes" of Ancient Greece are more important here than any thought toward period-appropriate accuracy, but either way there's no getting around how gorgeous the filming locations are, and how detailed and lovingly shaped the production design, art direction, props, costume design - and even the hair and makeup. Those stunts and effects that are employed are superb. The audio is robust and crystal clear, and Rachel Portman's warm, dynamic original score is a deft complement to the proceedings through every mood. However, not to discount the splendid work of all who contributed, but these are almost a given, something we might easily take for granted. More significant and even more gratifying, here, are those aspects in which we can see the utmost expertise and finessed, delicate hand of artists in cinema.

I speak to the cinematography of Marius Panduru, vivid and striking; this is beautifully shot, and some moments are especially eye-catching. I speak to the acting, primarily that of Fiennes and Binoche, who can so powerfully express multitudes with their eyes and facial expressions alone, and who with any more discrete outburst or movement carry all the gravity of the story along with them. (Of course that's not to count out co-stars like Charlie Plummer, Marwan Kenzari, or Claudio Santamaria, each of whom has their own time to shine, but there's no doubting who bears the most weight here.) And I speak not least to Pasolini's direction, for there is flawless fluidity, mindful restraint, and thoughtful deliberation that catches my attention again and again in the execution of any given scene. Whether Odysseus is briefly greeting a familiar face early on, for example, or much later exercising the strength of a much younger man or the anger of a bitterer one, with the help of his foremost stars Pasolini orchestrates shots and scenes with a wonderful subtlety and underhanded sophistication that's immensely rewarding. In turn, no matter how ugly the feature may get at some points, at all times it remains a highly engaging, captivating, and fulfilling viewing experience.

Based solely on the involvement of Fiennes and Binoche, and the premise put forward before release, I had every expectation that I would enjoy this. Those expectations have been handily exceeded. I can understand how the doing here will not appeal to all comers, but I am so incredibly happy with how smart and careful 'The return' is in its writing, direction, and acting above all. This boasts more complexity than any of countless adaptations of 'The odyssey' that have been rendered over the years, and it does so quite specifically by dispensing with any but passing mention or recollection of other events that precipitated this literary finale. For my money I could hardly ask for a better film, and I find myself remiss that I didn't have the chance to see this any sooner. In my opinion 'The return' is a grand success for Pasolini, Fiennes, Binoche, and all others who participated, and I can only give it my very high and hearty recommendation!