Based on the final part of Homer’s Odyssey, Uberto Pasolini’s The Return covers Odysseus’s return to Ithica after decades away fighting in the Trojan war. Starring Ralph Fiennes and Juliette Binoche, the film has garnered positive notices, especially for the actors. Interesting fact: Pasolini is no relation to the other director of that name – but is the nephew of Luchino Visconti. This is the second of his films to have been scored by the great Rachel Portman – while her signature style of great, bouncy melodies and general musical joy is always great to hear, I do like when she makes the occasional diversion into different territory (and indeed, Never Let Me Go is possibly her finest work) – and this is different territory indeed. Don’t be fooled into thinking this is an action epic – while I would love to hear one of those from this composer, her music here is very serious, generally dour and can take a bit of exploring.

The highlights are the score’s bookends. The opening theme is very heavy – low strings, a descending two-note motif of foreboding and great intensity played by oboe – and virtually the whole of what follows sees Portman exploring that theme. There are some tortuous moments, some of great emotional tumult – those familiar with the story will know that the character’s return is far from idyllic. A secondary motif, rising and falling, is interplayed with the main theme as Portman gets right inside Odysseus’s head. It is not easy listening at all – but a fascinating example of film music delving deep to provide a psychological examination of a character – it’s very smart indeed. Slowly but surely, chinks of light begin to form as the score progresses – they don’t stick around long and the overwhelming feeling of sadness is never absent. – and Portman impressively maintains a level of emotional intensity that (while dark) is really quite compelling. Occasionally she raises things up to fever-pitch (“The Hunt”, the closest we get to “action” music, and then in the pair of “Stringing the Bow” and “Odysseus Shoots”). It’s all worth it because of the payoff, the other bookend – it’s not some sweeping finale, but “Forgive Me” finally sees some warmth – the cathartic relief is palpable, the music’s dramatic journey complete. The Return is a score that demands patience and exploration – there is no easy win here – and you have to be prepared to give it that to get out of it what is there. What’s there is a deeply dramatic, emotional arc from one of the finest film composers around.

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