“My singing had the power to bring light to the darkness…”
O’Dessa is a genre-bending post-apocalyptic rock opera that explores and has a ton of fun with the ’80s interpretation of a classic hero’s journey. Stranger Things breakout star Sadie Sink plays a farm girl who embarks on a harrowing journey to discover herself, reclaim a cherished family heirloom, and fulfill a prophecy. Unbeknownst to me, the original rock opera from Patti Cake$ writer-director Geremy Jasper is inspired by the myth of Orpheus and Eurydice; if you are unlike me and can recognize modern adaptations of Greek myths, I am sure you will get a kick out of Jasper’s dream-like and trippy take.
Full disclosure: this project landed on my radar because Kelvin Harrison Jr. joined the cast. Since watching Luce some years ago, I have been an avid fan of the long-time rising star. He is a compelling actor who sheds pretense and offers raw, entertaining performances. To my surprise, Harrison steps into a role that has him playing the tragic love interest in a gender-swapped epic love story. Sure, he isn’t the lead lead, but he was the lure. I took the bait and am not mad about what I got.
The music is very catchy; the cast (primarily Sink and Harrison Jr.) can really sing, which is surprisingly becoming harder to manage in movie musicals (having Angourie Rice go up against Renee Rapp in Mean Girls was just cruel). Sink, who plays the titular role, is probably signing on the dotted line to play Anna in the inevitable Frozen live-action adaptation just as the film hits Disney+ (and Hulu in the US) because she proves her mettle here. I kid, but Disney won’t be able to resist for too long. Anyway, Sink is quite lovely; while she lays it on a bit thick with the Southern accent, her singing voice is gentle and sweet but commands your attention. Kelvin Harrison Jr., famed American Idol and X-Factor audition contestant strikes again after lending his voice in last year’s Mufasa: The Lion King, but also in the underseen Cyrano and The High Note. In O’Dessa Harrison Jr. offers up a dazzling performance showing off his singing prowess that should garner him more musical roles on or off screen.
Together, Sink and Harrison Jr. complement each other very well, though Sink sometimes looks drastically younger than Harrison, which can’t be helped with the eight year age gap. Despite that, they make you believe in their characters through their acting and singing. Sink’s O’Dessa is appropriately bright-eyed and bushy tailed, falling fast and hard for the distressed Eurie who offers warmth and hope for the girl destined to save the world. The chemistry between Sink and Harrison Jr. is paramount for the film. The duo executes the gender role swap as Orpheus and Eurydice very well; there isn’t any outright establishing of who the “man” or “woman” of the story is. Instead, they are equals–lost souls that find love in a hopeless place. Sink is fiercely compelling as a heroic lead, catering to the rumours of her role in the Marvel Cinematic Universe (MCU). Harrison, in turn, is captivating as the beauty that captures the hero’s heart is the unyielding motivator that they need. Aside from their palpable chemistry, the duo is aided by a distinct styling emphasizing the contemporary ideal that femininity and masculinity work in tandem within all genders. It’s not the most original of themes to conceptualize in a genre-bending film, but it is rarely seen in mainstream entertainment.
Jasper’s vision of this post-apocalyptic is a touch soft around the edges; it gives off the energy of the average YA novel series that would fit alongside Hunger Games and Divergent, with the harshness of the post-apocalyptic dialled down a notch or two. O’Dessa comes across as YA-coded Mad Max meets Repo! The Genetic Opera, complete with recognizable actors rocking a ridiculous get-up, funky hairdo and interesting accent. In this case, that would be Regina Hall and Murray Bartlett, both enjoying the chewing up the scenery and the taste of villainy.
Despite having all the right ideas and pieces to tell this very contemporary adaptation of the aforementioned Greek myth, there are times when it feels like the film is held back by its budget. Jasper’s ambitions are so apparent from the onset, and the limitations are made even more evident in the third act after the honeymoon period of the lead couple’s love story takes a tragic turn.
O’Dessa is by no means a groundbreaking piece of work that will usher in a new age of original work, but it is a breath of fresh air during a time when the vast majority of projects are retreads of popular IP. Greek mythology is exempt from all complaints. It’s most endearing quality is that it embraces genres that seldom grace our screens anymore – television, theatrical or otherwise. A post-apocalyptic fable filled with music, and ’80s inspired aesthetics and cinematography is not a common occurrence which makes it that much more compelling to watch.
The film is vibrant and moves at a brisk yet acceptable pace, and the sense of place and time is well realized, but Jasper’s vision is not fully realized both narratively and visually due to a modest budget or ambition falling short. A sense of grandeur and epicness is missing in the final act. While there are a few technical shortcomings, cinematographer Rina Yang does a lot of heavy lifting to effectively evoke the ’80s inspiration, with a heavy hand on capturing a dream-like haze, the desolate place, and the sense of tragedy and hopefulness. Her work on Nanny and The Fire Inside was nothing short of fantastic, so I am not surprised to see her work elevate the project. Crucially, the behind-the-scenes crew collectively work well to understand and explore Jasper’s vision, and despite limitations they execute it well.
O’Dessa is the kind of movie I would have enjoyed checking out in a theatre. Sure, the fact that it is a retelling of the story of Orpheus and Eurydice went over my head, but this rock opera proves that you can take ancient myths to unusual and original places. It is appropriately grand, the songs are catchy, the performances are great, the cinematography is eye-catching, and finally, the ’80s vibe is perfectly executed.
In an age where so much of what is brought to theatres is superhero drivel, sequels, remakes, reimaginings and the kid’s animated movie of the month, O’Dessa stands out as a genre film that checks all the boxes for an original film worth watching. Kelvin Harrison Jr., Regina Hall and Murray Bartlett are having fun chewing up the scenery, and Sadie Sink is further cementing her place as one of the brightest rising stars working today. The goal for most films is ultimately to be entertaining, and O’Dessa is just that.
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