O’dessa: A Symphony without a Song
By Thom Ernst
Rating: C
Geremy Jasper’s O’dessa is a dystopian rock opera lacking the essential elements of soul, rhythm, and the rebellious spirit characteristic of rock ‘n’ roll. It’s a tone-deaf attempt at greatness that ultimately falls short.
O'dessa presents a gender-reversing reinterpretation of the Orpheus and Eurydice myth. Aside from the myth of Dionysus and its implied scenes of drink, debauchery and orgies, there is perhaps no myth more suited for rock opera adaptation. In the original text, the mythical Orpheus is portrayed as a musician on a quest to recover a lost family heirloom and rescue his beloved Eurydice.
O’dessa (Sadie Sink) holding the love of her life in her hands.
In what amounts to a loose adaptation of that story, O'dessa has Sadie Sink taking on the role of the title character, a female Orpheus. Here, she is a farm girl gifted with a song and a cherished family guitar.
When this irreplaceable heirloom is stolen by a group of nomads led by the unscrupulous spiritual leader Father Walter (Mark Boone Junior), O’dessa embarks on a journey to retrieve it. Her quest takes her to a den of thieves, an impoverished Sodom and Gomorrah-inspired city populated by cons, cultists, and criminals, a perilous place governed by a charismatic showman named Plutonovich (Murray Bartlett).
O’dessa quickly locates the stolen guitar in the window of a dubious pawn shop (in this city everything is dubious). Without the funds to buy it back, O’dessa enters a talent contest in hopes of winning the money to reclaim her instrument. During the competition, O’dessa encounters Euri (Kelvin Harrison Jr.), a hard-core punk vocalist with a unisex aesthetic. They meet again under a boardwalk, and before long, the two are united by their youth and their music.
Throughout, the film is intercepted by various musical numbers in various styles, including folk ballads, rock melodies, and uninspired choruses highlighted by equally uninspired choreography.
Few of the songs lift off the screen as being an integral part of forwarding the plot. Worse, the songs, even the pseudo-joyful ones, are empty of joy. But do not lay blame on the performers. Despite its potential, O'dessa fails to fully capitalize on its talented cast.
Sadie Sink, who began her career on stage, delivers an intense performance, attempting to inject life into a film that feels strangely devoid of passion and vitality, considering the inherent tragedy and emotion of its source material.
Kelvin Harrison Jr., following his portrayal of B.B. King in Elvis, plays Euri, a rebellious punk rocker. His vocal performance is among the film’s few highlights, yet even his efforts cannot salvage O’dessa from its convoluted and moody narrative. Jasper seems to be influenced by 2008’s Repo! The Genetic Opera, a musical production better recognized for its distinctive aesthetic style rather than emotional depth and memorable songs.
O’dessa consistently edges towards but steps over (and occasionally stomps on) anything embracing the sultry, moody, or electrifying; a music film that never fully commits to the music.
O’dessa is void of the depth of soul and spirit expected from such an ambitious project. Ultimately, It falls far short of expectations, lacking the elements needed to deliver a rock opera that integrates music, passion, and emotional depth.
O’dessa. Directed by Geremy Jasper. Stars Sadie Sink, Kelvin Harrison Jr., Murray Bartlett and Mark Boone Junior. O’dessa is currently available to stream on Disney+.