How a 1954 epic about Homer's hero became a legend of behind-the-scenes drama

How a 1954 epic about Homer's hero became a legend of behind-the-scenes drama
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In short: The 1954 film Ulysses brought Homer’s Odyssey to the screen with Kirk Douglas in the lead. While critics found the final product uneven, the production itself became a legendary catalyst for cinema history, influencing everything from the career of Mario Bava to the inspiration for Jean-Luc Godard’s Contempt.

Directed by Mario Camerini, the 1954 international co-production Ulysses was an ambitious adaptation of Homer’s epic. The film featured Kirk Douglas as the titular king of Ithaca, with Silvana Mangano playing both Penelope and Circe. Despite its grand scale and location shooting across the Mediterranean and North Africa, the production was plagued by behind-the-scenes shifts. Originally intended to be shot in 3D, the project saw the last-minute departure of director Georg Wilhelm Pabst, leading to the hiring of Camerini, a filmmaker primarily known for domestic comedies.

The film’s technical legacy is perhaps more significant than its critical reception. Mario Bava, later a master of horror, served as a camera operator and uncredited co-cinematographer, even directing the cyclops sequence himself. The film’s international nature meant actors spoke their native languages on set, requiring extensive dubbing later. While the film was a massive commercial success in Italy, grossing 1.8 billion lire, it received lukewarm reviews, with critics often citing stilted dialogue and muddled storytelling as major flaws.

Beyond the screen, the film’s influence rippled through the industry. Producers Dino De Laurentiis and Carlo Ponti used the film's financial success to secure a deal for War and Peace. More famously, the production experience inspired Alberto Moravia’s 1954 novel Il disprezzo, or Contempt. Moravia had worked on the film as a script doctor, and his novel was later adapted by Jean-Luc Godard in 1963. In a meta-cinematic twist, the film-within-a-film in Godard’s version features director Fritz Lang, a contemporary of the original director Pabst, effectively weaving the 1954 production into the fabric of modern film history.

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