Christopher Nolan's upcoming film adaptation of Homer's ancient Greek epic, "The Odyssey," has ignited a conversation among audiences and critics due to its casting and dialogue choices. While many period and fantasy films conventionally employ British accents, Nolan's production features actors, including those with British native accents, delivering their lines in various American dialects. This decision, particularly the use of what has been described as a "Boston accent" for Odysseus, played by Matt Damon, has led to surprise and discussion about audience expectations for such narratives.
The Convention of British Accents in Period Pieces
For decades, a prevalent convention in Hollywood has been to use British accents, often Received Pronunciation (RP), for characters in historical dramas and fantasy epics. This practice, sometimes referred to as "The Queen's Latin," has led audiences to associate these accents with power, antiquity, and gravitas. Erik Singer, a dialect coach, notes that while there's no inherent linguistic reason for ancient Greek characters to sound like they are speaking modern, mannered English, this has become a strong audience expectation.
The historical roots of this convention can be traced back to the early days of Hollywood. In films from the 1930s and 1950s, such as "Spartacus" and "Ben-Hur," villainous or elite characters were frequently portrayed by British actors using RP. This contrasted with American-accented protagonists, often depicted as common heroes. Dialect coach Mike Walsh suggests this was partly influenced by the presence of the British Empire during that era, associating British English with imperial power and dominance. This association has persisted, leading to its use in diverse settings, from medieval fantasy like "Game of Thrones" and "Lord of the Rings" to historical films set in France, Russia, and even space, as seen in "Star Wars" where the Empire speaks with a British accent.
Shifting Conventions and Deliberate Choices
However, filmmakers have also intentionally deviated from this norm for specific narrative effects. In "Amadeus" (1984), director Miloš Forman had Tom Hulce use his natural American accent for Mozart to emphasize his character's outsider status in Vienna. Similarly, Sofia Coppola directed the cast of "Marie Antoinette" (2005) to use their natural accents, aiming for a sense of realism and modernity for the young queen, while casting British actors in supporting roles to represent the established order. Armando Iannucci's "The Death of Stalin" (2017) embraced a cacophony of regional British accents to reflect the diverse geography of Soviet leadership, prioritizing comedic pacing and spontaneity over linguistic authenticity.
Nolan's approach to "The Odyssey," however, seems to diverge from these precedents. His choice of accents is reportedly inspired by Emily Wilson's 2017 translation of the epic, which stripped away ornate language in favor of simplicity and emotional directness. Wilson argued that the original Greek was not ostentatious and that "stylistic pomposity is entirely un-Homeric." Nolan himself has stated a desire for an "earthy narrative" and "language that has emotional not intellectual meaning to people."
Dialect coach Mike Walsh suggests that Nolan is attempting to evoke a more colloquial feel, closer to what might have been spoken in ancient times, without the filter of traditional dramatic elocution. The jarring element for many viewers is the juxtaposition of these relatable, contemporary accents with characters who are powerful classical figures—kings, queens, and gods. This directorial choice challenges the long-held association between power and British accents, suggesting a potential shift in how cinematic power is sonically represented. As Singer posits, for younger audiences less familiar with the historical context of the British Empire, the association between RP and power may be diminishing, paving the way for new sonic interpretations of authority and heroism.