Exploring the Bold Aesthetics and Mixed Narrative of O’Dessa
Geremy Jasper’s latest film, O’Dessa, serves as a vibrant sequel to his 2017 hit Patti Cake$. Visually, the film embraces a maximalist approach. Each scene dazzles with an explosion of neon colors, cluttered sets overflowing with eclectic trinkets, and costumes that blend a variety of textures into a riot of color and style.
The storyline ambitiously reinterprets the classic myth of Orpheus and Eurydice, placing it in a dystopian world reminiscent of Mad Max and Blade Runner. Central themes explore profound concepts like the transformative power of music, love, and the intersection of both.
However, despite these noble ambitions, the overall experience of watching O’Dessa can feel akin to viewing an extended trailer. There is a clear artistic vision and a commendable ambition present, yet the film lacks the depth needed to validate its 106-minute runtime.
The screenplay appears to be a patchwork of familiar tropes. The lead character, O’Dessa, played by Sadie Sink, is introduced as a solitary farm girl yearning for adventure. Her quest to pursue a grand destiny as the “one who could stir souls” with her guitar raises intriguing questions of identity and destiny, especially considering her designation as the “seventh son of a seventh son,” despite having no siblings.
Following her mother’s death due to an unspecified illness, O’Dessa journeys to Satylite City, a place rife with corruption under the tyrannical direction of Plutovich (Murray Bartlett), who runs a cutthroat talent show with dire stakes. During her adventure, she encounters Euri (portrayed by Kelvin Harrison Jr.), a talented musician and unwilling escort, and the two fall instantly in love. When they are forcibly separated, O’Dessa must brave dangerous territory to save him.
Though the premise suggests a rich narrative, O’Dessa falters in its execution. Key plot points lack thorough exploration, leading to an experience where character development feels simplistic and uninspired. Although the cast delivers performances that range from competent to commendable, they become overshadowed by the frenetic pacing and visually chaotic elements. Regina Hall’s portrayal of Neon Dion, Euri’s ruthless handler, is entertaining, yet audiences might remember her more for her striking appearance than her character’s essence.
Even with the elaborate costumes by Odile Dicks-Mireaux and Anna Munro and the imaginative sets by Scott Dougan, Satylite City doesn’t establish a compelling historical backdrop. This absence makes it blend into the myriad of cyberpunk landscapes that have undoubtedly influenced it.
Furthermore, the raw emotional connection between O’Dessa and Euri, while apparent, lacks the layers of complexity necessary for deeper engagement. Their love is depicted through yearning glances and playful interactions, yet the absence of conflict or a nuanced backstory renders their bond superficial. This results in a viewing experience reminiscent of an advertisement rather than a fully fleshed-out narrative.
O’Dessa is marketed as a rock opera, showcasing musical interludes often, but struggles to deliver memorable songs. While the melodies crafted by Jasper and Jason Binnick may have a certain sweetness, they ultimately lack a distinctive quality that would leave a lasting impression. The film attempts to establish O’Dessa as a messianic figure capable of transforming humanity through her music—a lofty goal it falls short of achieving. This setting raises the bar so high that the film inevitably fails to reach it, lacking the palpable impact of a truly transformative melody.
The innovative approach to gender presentation is one aspect that may resonate with viewers. O’Dessa and Euri defy traditional gender norms, providing a fresh perspective on their portrayals. O’Dessa’s rockabilly aesthetic contrasts sharply with Euri’s overly sexualized stage persona, which includes a stunning lace wedding gown. Their relationship unfolds in a manner that challenges typical heterosexual dynamics often depicted in film.
While audiences may find appeal in the refusal to conform to conventional gender roles, the film’s structural weaknesses leave much to be desired. O’Dessa ultimately centers on aesthetic allure, perhaps suggesting that a film heavily focused on visuals might struggle to achieve profound meaning beyond its surface charm.