{"id":729,"date":"2026-07-16T12:06:54","date_gmt":"2026-07-16T12:06:54","guid":{"rendered":"https:\/\/americanlivingreport.com\/?p=729"},"modified":"2026-07-16T12:06:54","modified_gmt":"2026-07-16T12:06:54","slug":"why-does-odysseus-have-a-boston-accent","status":"publish","type":"post","link":"https:\/\/americanlivingreport.com\/?p=729","title":{"rendered":"Why does Odysseus have a Boston accent?"},"content":{"rendered":"
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After the first trailer for Christopher Nolan\u2019s new film adaptation of The Odyssey <\/em>dropped, a wave of conversation followed, part amused, part outraged: Why were all the actors, even the British ones, doing American accents? And why did the dialogue sound so contemporary?<\/p>\n

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\u201cMy dad is coming home,\u201d declares Tom Holland as Odysseus\u2019s son Telemachus, with tight-mouthed American vowels despite Holland\u2019s natural English accent.<\/p>\n<\/div>\n

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\u201cYou\u2019re pining for a daddy you didn\u2019t even know,\u201d returns Robert Pattinson, another British actor hitting hard American r\u2019s.<\/p>\n<\/div>\n

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\u201cLet\u2019s gooooooo!\u201d yells Matt Damon\u2019s Odysseus as he leads his men to battle, Boston o\u2019s in their full splendor.<\/p>\n<\/div>\n

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\u201cDude<\/em>,\u201d the Hollywood Reporter wrote. \u201cEverybody sounds like they\u2019re from Ohio.\u201d The comments section below the trailer is filled with jokes about seeing Odysseus waiting outside Starbucks.<\/p>\n<\/div>\n

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It makes sense that audiences were so surprised at Nolan\u2019s choice. We\u2019re used to seeing actors in period pieces and fantasy epics speak with British accents, a trope sometimes called \u201cThe Queen\u2019s Latin.\u201d But there\u2019s no logical reason that characters who, in-universe, are speaking ancient Greek should sound to us like they\u2019re talking in mannered BBC English, says Erik Singer, the dialect coach who helped Austin Butler nail his Elvis accent. The Odyssey<\/em> is nearly 3,000 years old, and on that scale, contemporary American English is just as close to Homer\u2019s language as the elevated old-timey English diction we often see in period films.<\/p>\n<\/div>\n

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\u201cAccents do not in fact inherently mean anything,\u201d Singer says, \u201cbut we really think that they do.\u201d<\/p>\n<\/div>\n

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To understand why the accents in The Odyssey<\/em> sound so strange to so many people, you first have to understand why British accents became the default for any period piece. The answer has a surprising amount to do with what American audiences think power sounds like.<\/p>\n<\/div>\n

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\u201cWhy is the empire British when we\u2019re in outer space and there is no Britain?\u201d<\/h2>\n<\/div>\n<\/div>\n
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As the Hollywood epic emerged starting in the 1930s and evolved in the 1950s, Singer says, studios developed a convention of coding the past in different accents. In films like Spartacus<\/em> and Ben-Hur<\/em>, the villainous elites were mostly played by British theater actors in Received Pronunciation English, whereas the heroic peasant protagonists were played by Americans with American accents.<\/p>\n<\/div>\n

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\u201cI do think that it is not an accident that\u2026there still was a British Empire in the \u201930s and \u201940s,\u201d Singer tells Vox. \u201cThere\u2019s something [there] that makes sense\u2026the popular conception of the Roman Empire bestriding the world, like the British Empire.\u201d<\/p>\n<\/div>\n

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\u201cBritish accents have been closely associated with imperialism for a very long time for obvious reasons,\u201d says Mike Walsh, a dialect coach who worked with Brian Geraghty for 1923: A Yellowstone Origin Story<\/em>. \u201cWhen you\u2019re dealing with some sort of war effort that takes place in something that feels like fantasy, most often the characters become British.\u201d<\/p>\n<\/div>\n

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Over time, this practice calcified into a convention. In fantasy worlds based on medieval Britain, like Game of Thrones<\/em> and Lord of the Rings<\/em>, the American and Australian actors speak in British accents. They also speak in British accents in period films that are supposed to take place in France (Ever After<\/em>, Les Miserables<\/em>), Russia (Anna Karenina<\/em>), and the ancient past (Gladiator<\/em>, 300<\/em>). In The Borgias<\/em>, the Italians have British accents, but the French have French accents.<\/p>\n<\/div>\n

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Even in Star Wars<\/em>, the Empire uses the Queen\u2019s English, while the scrappy resistance army has American accents. \u201cWhy is the empire always the British one when we\u2019re in outer space and there is no Britain?\u201d Walsh asks. \u201cBritain has become associated with this high-fantasy war conqueror image.\u201d<\/p>\n<\/div>\n

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Avoiding \u201cBritish period movie accent\u201d<\/h2>\n<\/div>\n<\/div>\n
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When Hollywood avoids a British accent in a period or fantasy film, it\u2019s usually for a specific reason. Often, it has to do with which characters the audience is supposed to perceive as powerful, and which ones they are supposed to relate to.<\/p>\n

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In the 1984 film Amadeus<\/em>, director Milo\u0161 Forman had Tom Hulce use his usual American accent to play Mozart. Forman \u201cwanted the Mozarts to feel like out-of-place Americans in Vienna,\u201d Hulce explained in 2023. F. Murray Abraham also kept his American accent to play Salieri, but the Viennese characters around them were primarily played by Brits in their natural accents.<\/p>\n<\/div>\n

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In 2005, Sofia Coppola directed the cast of Marie Antoinette<\/em> to use their natural accents. \u201cWe weren\u2019t going to do the movie in 18th-century French, so it didn\u2019t make sense to have them do British period movie accent,\u201d she said at the time, adding that she was influenced by the way the natural accents in Amadeus<\/em> made the characters feel \u201clike real people.\u201d As in the old Hollywood epics, Coppola cast British theater actors as the old guard of Versailles and young Americans as Marie Antoinette and her friends, so that Kirsten Dunst\u2019s California drawl became another anachronism, bringing Marie Antoinette\u2019s youth and modernity to life.<\/p>\n<\/div>\n

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In the 2017 film The Death of Stalin<\/em>, each character in 1950s Russia has a different accent. Director Armando Iannucci told most of the cast to speak as they normally would, so that Steve Buscemi\u2019s Khrushchev keeps Buscemi\u2019s Brooklyn intonations, while Adrian McLoughlin\u2019s Stalin is Cockney. (The exception is Jason Isaacs, who tweaks his Liverpool accent into something more Yorkshire). Iannucci told Metro in 2017 that he considered having the cast perform in Russian accents, but ended up feeling it would detract from the comedy. \u201cI thought it would just kill the pace and spontaneity of it,\u201d he said. \u201cI wanted a range of English accents, to indicate the geographic spread of this Empire.\u201d<\/p>\n<\/div>\n

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Nolan\u2019s Odyssey<\/em>, however, does not appear to be aiming for the shocking anachronism of Marie Antoinette<\/em>, the fish-out-of-water humor of Amadeus<\/em>, or the black comedy of The Death of Stalin<\/em>. Whatever Nolan\u2019s doing with his accent work, it\u2019s something else entirely.<\/p>\n<\/div>\n

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\u201cLanguage that has emotional not intellectual meaning to people\u201d <\/h2>\n<\/div>\n<\/div>\n
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Nolan has said he was inspired by Emily Wilson\u2019s portrait of Odysseus in her radically stripped down 2017 translation. While most English translations of The Odyssey<\/em> use heightened, highly poetic language, Wilson\u2019s is severe in its simplicity. She rejects any flowery invocations of \u201cthe muse\u201d at the beginning of her translation, rendering the first line starkly as \u201cTell me about a complicated man.\u201d<\/p>\n<\/div>\n

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\u201cThe notion that the Homeric epic must be rendered in grand, ornate, rhetorically elevated English has been with us since the time of Alexander Pope,\u201d Wilson writes in her introduction to The Odyssey<\/em>, referring to Pope\u2019s grandiloquent 1725 translation. \u201cIt is past time, I believe, to reject this assumption.\u201d Her argument is that the original Greek is \u201cnot difficult or ostentatious,\u201d and she wants to honor the fact that \u201cstylistic pomposity is entirely un-Homeric.\u201d<\/p>\n<\/div>\n

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Following suit, Nolan told the Los Angeles Times that he wanted \u201can earthy narrative\u201d for his Odyssey<\/em>, and that he prioritized \u201clanguage that has emotional not intellectual meaning to people.\u201d<\/p>\n<\/div>\n

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\u201cHe\u2019s attempting to go closer to that idea of what would have been colloquial for the time,\u201d Walsh says. \u201cThough it is a heightened story told in song, that doesn\u2019t mean that it was told with a filter or a distance applied to it, or that it was only meant to apply to smart people.\u201d<\/p>\n<\/div>\n

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What seems to be jarring to people, though, is that while Nolan\u2019s characters might sound relatable, they are still powerful classical figures: kings and queens and gods and goddesses.<\/p>\n<\/div>\n

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We\u2019re used to thinking that power sounds like the British Empire. Nolan\u2019s Odyssey<\/em> shows that might not hold true anymore.<\/p>\n<\/div>\n

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\u201cIf it\u2019s changing\u2026it could well be because for folks, maybe Americans younger than 40, those associations between [Received Pronunciation] and Empire aren\u2019t really there anymore strongly,\u201d Singer says. \u201cOr even between RP and high falutin\u2019 fanciness or something aren\u2019t there as much anymore.\u201d<\/p>\n<\/div>\n

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The British Empire is passing out of living memory now, and the American empire is here. In Nolan\u2019s Odyssey<\/em>, if not for the rest of Hollywood, power sounds like a guy from Boston, loitering outside a Starbucks.<\/p>\n

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