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The Odyssey is based on books about Cousteau as well as testimony gathered by Salle and his team. It opens, in one of the films few interesting conceits, with water as a place of death, potently recreating the 1979 plane crash involving Cousteaus son Philippe (Pierre Niney, feted for his portrayal of Yves Saint-Laurent in Jalil Lesperts 2014 biopic, and currently doing the rounds in Francois Ozons Frantz). The narrative, whose emotional crux is the shifting, troubled relationship between father and son, will bring us back to this point. It starts after World War 2 with the decision of the limitlessly ambitious Cousteau (Lambert Wilson — Of Gods and Men, Sahara) to make a career of underwater documentaries: his ruthless intentions aresignaled early on as he abandons onstage his stammering colleague Tailliez (Laurent Lucas). Having purchased and restored the Calypso, the boat with which his name is synonymous, Cousteau, along with wife Simone (Audrey Tautou), eldest son Jean-Michel (Benjamin Lavernhe), and a crew represented by the mariners ever-faithful sidekick Bebert (Vincent Heneine), set off to explore the oceans, and to bring them into the living rooms, of the world. The forlorn Philippe is abandoned to boarding school, left to cling miserably to a pair of his Dads diving goggles which will later make one appearance too many. After this, things become highly episodic, charting Cousteaus largely untroubled rise and rise as he Gallically charms money from the pockets of various patrons, including, interestingly, the underwater oil sector and, crucially, Americans, presented here in lazy stereotype. Much of it is done via often deja vu musical ellipses, some more cleverly conceived than others. look at here nowThe script charts Cousteaus business successes with only the briefest attention paid to the obstacles standing in his way, the film focusing on Cousteau as businessman more than one any of his other achievements; the occasional lack of cash, an affair which Simone learns about, and a pipe which he briefly adopts, are brushed aside with equal insouciance by both the script and by Cousteau, and do little to engage the viewer with either the man or his story. Thus The Odyssey is more than mere hagiography, but being aware of its subjects multiple faults is not enough to make him compelling as a character.
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