The Odyssey

Dir: Christopher Nolan. Comp: Ludwig Goransson.

The spectacle of Nolan's 'The Odyssey' hit our screens earlier this year, and practically redefined Greek mythological films. Following the events of Homer's tale, the impressive CGI and practical effects immerses us firmly within Ancient Greece. Goransson's epic score truly sets a new standard for scores, as he uses ancient instruments in tandem with synthesizers for a fresh sound.

Nolan specifically stopped Goransson from using a typical orchestra for this film - wanting to move away from the familiar sound of something like Gladiator - Hans Zimmer's iconic score. Goransson and his team consequently spent great time researching ancient instruments in order to play them correctly, and experimented with sheet metal drums, Albanian vocal polyphony and bronze instruments in order to create The Odyssey's expansive soundworld.

This score represents a potenial new era in filmic scoring, defined by cultural practise, and the reimagining of music from all over the world. These soundtracks often pair the new sound/instrument/motif with modern synthesizers and electronic music in order to make it palatable and familiar for a Western audience - moving away from the orchestral standard set by composers throughout the late 20th century. The dreaded world 'authenticity' comes to mind as Goransson's intricate exploration of the relevant music comes through in the final product. An inexplicable sense of closeness is created between the visuals and the score - a metadiegesis in a way - there is an implication that what we hear musically is very accurate to the music that would belong in the narrative world. Goransson plays with this diegesis by using the one-note motif of the bow twang, that binds the soundtrack and visuals together. This is becoming a trademark of Goransson, as we have seen this in the Sinners score also (another landmark soundtrack of recent years).

Goransson's dedication to immerse the audience into the visual world is most effective in The Odyssey and seems to be a clear indication that soundtracks are having a new wave of inspiration with Goransson at the helm.

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