The key thing about Achilles in
The Odyssey, as opposed to his grandeur in the
Iliad, is that he’s been undone by death. He appears among the gibbering, blood-streaked ghosts that crowd around the living and beg for a taste of their lost existence.
Achilles in
The Odyssey is therefore the drained shadow of an unmade non-man, yearning for the time when he was real and alive. His power sapped, he bitterly regrets the trade-off he made by dying young in exchange for immortal fame. “I would rather be a serf and till a poor man’s field,” his ghost
says to Odysseus, “than rule among all the dead in their decay.” It’s part of Homer’s greatness that he both celebrates the glory of martial valor and undercuts it with this harrowing image of what happens even to the proudest fighters after they are slain: they turn into empty specters, grieving the loss of their former selves.
They behave, in other words, a lot like those poor souls who go through gender transition and
regret it, wishing they could recover the vitality of their natural bodies. If this is what Nolan has in mind by casting Page as Achilles, assuming he’s actually done so at all, it could serve as a daring commentary on the dark side of this industry.