Classics professor and translator Emily Wilson published a critical essay on Christopher Nolan’s new film in The Atlantic, maintaining her stance that the cinematic epic is an emotionally empty project despite watching the movie a second time during a Q&A at New York’s Jacob Burns Film Center, according to reporting by Vulture. Wilson previously critiqued the movie on the London Review Of Books website, arguing that the blockbuster attempts to build an ill-fitting moral framework around Odysseus’ story.
Wilson Examines Historical Depictions of the Trojan Horse
In her essay for The Atlantic, titled “A Trojan Horse Is Supposed To Have Humans Inside It,” Wilson focuses on historical depictions of the Trojan Horse. Wilson uses this focus to explore muddled cinematic stances on technological development and deception, contrasting modern views with attitudes from the era when The Odyssey was first written.
Unlike her initial review published on the London Review Of Books website, Wilson scrubbed most commentary on the movie’s cast and droll asides regarding the director’s filmmaking quirks. However, she retained a comparison of the blockbuster mindset to the Die Hard films, which she described in Vulture’s reporting as “action-packed tales of one man’s dangerous journey back to his wife.”
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Ethical Costs and Filming Locations Come Under Scrutiny
The Atlantic essay repeats a key point from Wilson’s earlier review regarding the production’s filming locations.
Social Media Reaction and the Broader Discourse
Wilson expressed amusement on social media regarding the public response to her film critiques.
Rather than functioning as a counterswing to her critics, the new essay represents a tightening of her initial arguments. By resisting the urge to refute backlash, Wilson produced a more thoughtful piece that centers squarely on scholarly analysis of classical themes in modern cinema.
Frequently Asked Questions
Where did Emily Wilson publish her second critique of Christopher Nolan’s film?
Wilson published her second essay on the movie in The Atlantic, following her earlier review on the London Review Of Books website.
What specific historical comparison does the film make, according to Wilson’s essay?
What location did Wilson highlight regarding the film’s production choices?
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