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The music in Nolan’s Odyssey is as well-crafted – and bloodlessly unmemorable – as the movie itself
In a Guardian opinion piece, composer Tom Smail assesses Ludwig Göransson's score for Christopher Nolan's blockbuster The Odyssey, arguing it is technically accomplished but ultimately fails to leave a lasting impression, mirroring what he sees as the film's own emotional flatness. Smail, who has personal experience composing in a similar vein, praises the ambition of Göransson's approach while suggesting the result doesn't quite achieve the emotional resonance it aims for.
Nolan reportedly asked Göransson to avoid using a conventional orchestra, instead seeking a "recognisable but unfamiliar" sound world built from bronze gongs, struck metal objects, reconstructed ancient instruments such as the aulos and early lyres, plus synths and intimate vocal groupings. Smail draws parallels with his own work on Jonathan Nossiter's Last Words, which used a similarly earthy "stone, wind and metal" brief, and notes that while he admires Göransson's meticulous, research-driven method, many viewers reportedly found the score emotionally unmemorable, even if that isn't necessarily a flaw since a score's job is to serve the film rather than to be catchy.
In short
- Göransson's Odyssey score avoided orchestras for ancient/metallic instrumentation instead.
- Composer Tom Smail says it's technically impressive but emotionally forgettable.
- Score reflects the film's own perceived lack of emotional depth.
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
A film score's primary purpose is supporting the film's artistic vision rather than creating standalone memorable melodies. Göransson's intellectually rigorous approach—employing unconventional instruments to build a deliberately unfamiliar sound world—represents sophisticated artistry aligned with Nolan's creative ambitions. If the score successfully creates the distinctive sonic landscape Nolan requested, it succeeds in its essential function regardless of whether audiences find it individually memorable.
The case against
A film score must move its audience emotionally to be truly successful, and Göransson's technically accomplished but ultimately unmemorable composition fails at this fundamental level. Whilst the intellectual rigour and unconventional sound design are admirable, they cannot offset the score's apparent inability to create emotional resonance or lasting impression. Genuine compositional excellence requires balancing technical sophistication with emotional power; this score's failure to achieve both represents a significant limitation.
Explained simply
Christopher Nolan's blockbuster The Odyssey features a film score by composer Ludwig Göransson. Composer Tom Smail has written an assessment of the score, examining whether it achieves its intended emotional impact.
Rather than use a conventional orchestra, Nolan asked Göransson to create music from unusual instruments: bronze gongs, struck metal objects, reconstructed ancient instruments such as the aulos and early lyres, synthesisers, and small vocal groups. This approach was designed to produce a sound that was recognisably musical yet distinctly unfamiliar.
Smail praises Göransson's technical ambition and meticulous research but notes that many viewers found the score emotionally unmemorable. He uses his own experience to raise a question about film music: should it be memorable in its own right, or primarily serve the film's needs?
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