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Electra is a 1962 unlit and white adaptation of the version of the account from Euripides. Electra (Irene Pappas) and Orestes prefer revenge on King Aegisthos and on their mother, Queen Klytemnestra, for killing their father, King Agamemnon. [It's consuming to compare "Electra" with "Hamlet".]
The movie is very cessation to the play. The main inequity is an added portrayal of the arrival and destroy of Agamemnon and the rescue of the young Orestes. Also, the death of Aegisthos now comes at a festival for Bacchos, rather than at a service to honor the Nymphs. These changes execute sense for a new audience.
Euripides is well served by the gracious acting and by the psychologically-correct bleak, isolating landscapes. It even looks as though the scenes at Mykenai may have been done on spot. (The demolish credits are all Greek to me.)
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(If the movie were remade to day, one might be tempted to have a computer-generated Palace. If one wanted to be historically just, the film maker might have had to partially reverse the severe soil erosion that accelerated the relative decline of the Argos status.)
While it is difficult to know why such a cloud of black-clothed women would hang around Electra’s house in such a sparsely populated land, the handling of the Greek chorus is well done.
The movie can be heard in Greek, English, or French. There are subtitles in English, French, and Spanish. The music is small- scale Reach Eastern. The only extra is the unique theatrical trailer.
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It is a classic movie from a classic source, given classic acting.
Interesting that this 1962 film’s director, Michael Cacoyannis, also directed Zorba the Greek and that the latter film also starred Irene Papas who plays the title character in Electra. It easily demonstrates Cacoyannis’ artistry as a director, for in this film, he does a masterful job of interpreting the Euripides drama.
Filmed naturalistically in Greek settings, Electra does not disappoint. The substantial hero and king Agamemmnon is brutally murdered reach the beginning of the record by his wife Clytemnestra and her lover Aegisthus. Electra and her brother Orestes, children of the royal couple, are both thrown out of their palatial home–Orestes is exiled, and Electra forced to marry a commoner and live in a hovel.
The term “Electra Complex” refers to a daughter’s unnatural adore for her father and while this is not overtly portrayed here, the hints are certainly in set. Even when her mother tells Electra of the king’s infidelities the daughter defends him, citing the queen’s enjoy as proof of the latter’s treachery.
Electra and Orestes grasp revenge on the couple who have killed their father–not without grand remorse.
Cacoyannis’ skill is demonstrated in his choice to film this work in murky and white, accentuating the starkness of the legend, which contains numerous stretches of silence, an effective Greek chorus of village women (all clothed similarly in dusky), and an equally effective find by the stout Greek composer Mikis Theodorakis who also collected the music for Zorba the Greek. The record is pure drama–the emotional elements are laid bare in the stripped to the bone dialogue that wastes no words.
The cinematography as well emphasizes the basic elements of earth and sky; gloomy and white has seldom been obsolete as well in a drama as it is here. Earth is the land of man where we live and die; sky is the land of the gods to whom we appeal for everything we want that we don’t have. And whether or not we accept what we want–who can say?
Highly recommended.
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