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Trauer muss Elektra tragen

Originaltitel: Mourning Becomes Electra
  • 1947
  • Approved
  • 2 Std. 39 Min.
IMDb-BEWERTUNG
6,3/10
1397
IHRE BEWERTUNG
Trauer muss Elektra tragen (1947)
Drama

Füge eine Handlung in deiner Sprache hinzuEugene O'Neill's updated version of the Oresteia set in New England, after the American Civil War.Eugene O'Neill's updated version of the Oresteia set in New England, after the American Civil War.Eugene O'Neill's updated version of the Oresteia set in New England, after the American Civil War.

  • Regie
    • Dudley Nichols
  • Drehbuch
    • Eugene O'Neill
    • Dudley Nichols
  • Hauptbesetzung
    • Rosalind Russell
    • Michael Redgrave
    • Raymond Massey
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,3/10
    1397
    IHRE BEWERTUNG
    • Regie
      • Dudley Nichols
    • Drehbuch
      • Eugene O'Neill
      • Dudley Nichols
    • Hauptbesetzung
      • Rosalind Russell
      • Michael Redgrave
      • Raymond Massey
    • 46Benutzerrezensionen
    • 17Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 2 Oscars nominiert
      • 5 Gewinne & 2 Nominierungen insgesamt

    Fotos6

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    Topbesetzung28

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    Rosalind Russell
    Rosalind Russell
    • Lavinia Mannon
    Michael Redgrave
    Michael Redgrave
    • Orin Mannon
    Raymond Massey
    Raymond Massey
    • Ezra Mannon
    Katina Paxinou
    Katina Paxinou
    • Christine Mannon
    Leo Genn
    Leo Genn
    • Adam Brant
    Kirk Douglas
    Kirk Douglas
    • Peter Niles
    Nancy Coleman
    Nancy Coleman
    • Hazel Niles
    Henry Hull
    Henry Hull
    • Seth Beckwith
    Sara Allgood
    Sara Allgood
    • Landlady
    Thurston Hall
    Thurston Hall
    • Dr. Blake
    Walter Baldwin
    Walter Baldwin
    • Amos Ames
    Elisabeth Risdon
    Elisabeth Risdon
    • Mrs. Hills
    Erskine Sanford
    Erskine Sanford
    • Josiah Borden
    Jimmy Conlin
    Jimmy Conlin
    • Abner Small
    Lee Baker
    Lee Baker
    • Reverend Hills
    Tito Vuolo
    Tito Vuolo
    • Joe Silva
    Emma Dunn
    Emma Dunn
    • Mrs. Borden
    Nora Cecil
    Nora Cecil
    • Louisa Ames
    • Regie
      • Dudley Nichols
    • Drehbuch
      • Eugene O'Neill
      • Dudley Nichols
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen46

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    8kathy5353853

    Most Interesting

    I have seen this movie in bits and pieces over the years and therefore had seen the entire film before. But not all at once. Tonight I did. For those who know the original ancient Greek plays that this was taken from, it enhances the modernizing that Eugene O'Neill did with his treatise. It is, in and of itself, a brilliant literary work. This story, whether in the old Greek, or the 20th century version (the writing of it), is a daunting tale to tell for any actor. For my tastes, the women in this film were over the top. Fine actresses both, Katrina Paxinou as Christine the mother, and Rosalind Russell as Lavinia the daughter (or Electra), they perhaps could have used the help of a better director. The men were all fine. Though Raymond Massey's greatest contribution was his wonderful movie presence. But to watch Michael Redgrave's amazing performance was worth every other flaw. He took a part that was, indeed, full of words, and made them flow so naturally from his mouth, that I believed people DID speak that way. And with that wonderful naturalness, he achieved such depth of emotion! Love, anger, fear, hatred, and guilt to the point of paranoia and virtual insanity. I have seen other movies of his, and have always understood, simply enough, how his progeny became such fine actors. Sir Michael Redgrave was an actor that could bury himself in any part. But I saw this performance, just now, as if for the first time. So real, so believable, so brilliant.
    6jjnxn-1

    Rosalind owed a favor

    Miscast, stagnant version of something that's heavy going to begin with. Redgrave is good as Orin the haunted son. Rosalind tries but is just the wrong actress for the part, ideally it should have been Katharine Hepburn or Olivia de Havilland. She owed Dudley Nichols a favor for adapting and directing the story of Sister Kenny, a dream project for her and this was his but could only get it made with her participation, she even admitted that she was wrong for it but felt a sense of loyalty and went forward. Katina Paxinou gives an overblown operatic performance in a part that would have fit Garbo perfectly. The play is really too complex for a standard film version, the extended PBS production in the late 70s with Joan Hackett and Roberta Maxwell got it right but that one clocks in at just under five hours.
    9critic-2

    Intense and depressing, but far from dull

    Most of the professional reviews of this unjustly neglected film dismiss it as "stagy", "wordy", and "dull". Yes, it is wordy, if you consider a film entirely propelled by dialogue wordy, and yes, it is stagy if you consider a film largely confined to a single set stagy, with no fancy cutting, camera tricks, or quick editing to disturb or interrupt the flow of language. And yes, at nearly three hours, it is one of the longest film versions of a classic Eugene O'Neill play ever made. (The original play clocks in at six hours!)

    I myself have never been able to understand those critics who claim to appreciate great achievements in film and theatre, and yet grow restless at the thought of too much dialogue in a film. Who cares, when the dialogue is written by one of the greatest playwrights this country has produced, and when the storyline is as riveting as this?

    O'Neill never actually wrote a suspense drama, but this updated revision of the Electra-Orestes-Agamemnon myth is as close as he ever came to it. The story features elements of murder, revenge, insanity, and more than a hint of incest, and when Rosalind Russell as Lavinia and Michael Redgrave as Orin, her beloved brother, plot together to carry out their scheme, the story becomes as gripping as any suspense film ever made.

    There are very few completely calm moments in this film; nearly all of the performances take on a quality of seeming to be on the verge of a total nervous collapse. Some of Rosalind Russell's acting, particularly during the first hour or so, may strike you as slightly over-the-top, especially her facial expression (accompanied by an ominous musical chord) when she sees her thoroughly evil mother Christine (Katina Paxinou) in a lover's clinch with Adam Brant (Leo Genn), an illegitimate relative of the Mannon family, while Christine's husband (Raymond Massey) is off fighting the Civil War, but once Russell becomes the cold, scheming avenger, she is magnificent. Michael Redgrave is slightly uncomfortable with his attempt an an American accent, but he effectively conveys the essential goodness of a conscience-stricken young man on the verge of madness who only wants to do the right thing. Katina Paxinou is despicably nasty and self-dramatizing as the utterly selfish Christine Mannon. Raymond Massey ,so often cast as a villain, gives what is one of the best, most dignified and most restrained performances of his career as Ezra Mannon, head of the family, a man who is supposedly unfeeling and callous (according to Paxinou's character, but then, can we trust her?), but who in the story reveals only a genuinely sympathetic and tragic side of himself. Leo Genn is sincere as Christine's misguided and basically kind lover, and Kirk Douglas, in one of his first film roles, plays Lavinia's bewildered and decent suitor.

    Because of the film's disastrous reception at the box office, a barbaric decision was made to cut an entire hour by simply lopping off the entire final section, unnecessarily mutilating a film that deserves to take its place as one of the great dramatic stage-to-film adaptations of all time, and certainly one of the few great film adaptations of a Eugene O'Neill play. His plays, on the whole, have been frequently distorted and/or mutilated for the big screen, unlike Tennessee Williams's, whose works made it relatively unscathed, and even sometimes improved, to film. O'Neill's plays have not fared as well on film as they have on television, but along with 1962's "Long Day's Journey Into Night", and 1940's "The Long Voyage Home", "Mourning Becomes Electra" can be rightfully considered a film classic.
    10gftbiloxi

    A Film That Transcends Its Own Flaws

    The script reduces the stage original by approximately two-thirds. The cinematography is clunky and the production values are weak. Direction is indifferent and the acting styles are all over the map. Even so, the 1947 MOURNING BECOMES ELECTRA is a startlingly powerful film, a melodrama that leaps and crackles and which will hold the attention of discerning viewers through two and a half hours to its remarkably bitter end.

    Loosely based on the ancient Greek tragedy THE ORESTIA, Eugene O'Neill's 1931 drama was and is an extraordinary creation. Strangely ritualistic in tone and requiring approximately six hours to perform, it stunned audiences upon its debut, was a powerful factor in O'Neill's winning of the Nobel Prize for Literature, and remains one of the great pinnacles of American theatre to this day. It is also a warped, sick, and twisted tale of adultery, incestuous affections, blackmail, murder, and suicide, and as such it held Hollywood at bay for close to twenty years.

    The story concerns the Mannons, a family that has dominated a small New England town for more than a hundred years, dominating through social status and supposed family and civic duty even as they conceal several internal scandals. The film opens with father Ezra (Raymond Massey) away from home, acting as a leader in the Civil War; in his absence wife Christine (Katrina Patinoux) has taken a lover who visits the house under the guise of courting daughter Lavinia (Rosalind Russell.) When Lavinia discovers the truth, she attempts to blackmail her mother into giving up the relationship--but the attempt backfires into a horrendous cycle of murder and revenge that ultimately destroys the family and drives Lavinia to her her doom.

    The script actually does manage to encompass all the primary plot points of O'Neill's original, and although the result is a bit talky in a forced sort of way the story itself possesses a relentless quality that does indeed approximate the stage original. Even more surprisingly, the script makes no effort to soften the incestuous nature of the various relationships that characterize the tale, relationships that increasingly pervert and twist the family as the story progresses. This is dark, dark stuff indeed.

    As previously noted, the cast is all over the map in terms of acting style and indeed each of the principles seem to be performing for a different film. Rosalind Russell is distinctly "classic Hollywood;" Michael Redgrave is distinctly "English theatre." Katrina Patinoux, a memorable performer, is Greek and therefore somewhat out of place as the matriarch of a New England family; Raymond Massey, an equally memorable performer, seems to reprise his earlier portrayal of Abraham Lincoln. Each and every one of them, in their own different ways, play at white-hot intensity, and many find the resulting mix too uncomfortable. I myself did not: if anything, I felt it added to and intensified the overall strangeness of the piece.

    Eugene O'Neill dramas do not, as a rule, film extremely well: they are too clearly designed for the stage and as such they work best in front of a live audience. All the same, and in spite of its numerous flaws, this is one of the few film versions of an O'Neill play that actually manages to capture the intensity of the stage original. Dark, brooding, and deeply disturbing, MOURNING BECOMES ELECTRA deserves a great deal more attention than it has ever received.

    When the film failed at the box office, RKO responded by cutting it in re-release. This Image Entertainment DVD restores those cuts, and that is a very good thing indeed. Unfortunately, it is also the only good thing that one can say for the DVD. The print quality is at best mediocre, a bit fuzzy, occasionally streaked, and riddled with artifacts. There are no extras of any kind. But just as the film transcends its own flaws, so too does it transcends this poor transfer. Strongly recommended.

    GFT, Amazon Reviewer
    6bkoganbing

    Her Best Accolade

    Mourning Becomes Electra did for Rosalind Russell what Nightmare Alley did for Tyrone Power. It established her as an actress with range not previously realized and in her case she got an Oscar nomination for Best Actress. But it was an absolute financial flop.

    Dudley Nichols in his adaptation of Eugene O'Neill's marathon play about the Mannon family of New England managed to get it down to almost three hours in length. In its first release that's about how long it was and later when the public proved indifferent to it, it was cut further rendering it totally unintelligible for O'Neill purists.

    Rosalind Russell had a three picture deal going with RKO films and one of those films she wanted to do was Sister Kenny whom she had met and was very impressed with. According to her memoirs Dudley Nichols agreed to help with Sister Kenny if she would do Mourning Becomes Electra. She actually wanted to play the role of the mother that Katina Paxinou did, but had to settle for daughter Lavinia.

    The film got good critical acclaim and should have stayed in the art house circuit. But RKO put it in general release and it lost money big time. Russell's Sister Kenny biographical film also went the same route and she also got an Oscar nomination. However when Howard Hughes bought RKO he took one look at the red ink beside both of those films and told her to forget that third picture on the deal. No more art house stuff would come out of RKO while Hughes was in charge.

    O'Neill work is always long on characterization, but this one could have been better. A very static camera was at work here, always filming scenes from a single perspective. Both the films of Long Day's Journey Into Night and The Iceman Cometh though they are both taking place on one set are far better done for the cinema than Mourning Becomes Electra.

    Russell mentioned that her best accolade was a handwritten note from Eugene O'Neill himself about how much he liked her performance. It was better than the Academy Award that everyone thought she would get, but Loretta Young got for The Farmer's Daughter.

    Michael Redgrave was nominated for Best Actor, but he also lost to Ronald Colman for A Double Life. It was back to the British cinema for him after this.

    Russell and Redgrave are brother and sister, children of Raymond Massey and Katina Paxinou. Paxinou has a lover on the side in Leo Genn who's also courting Russell. Russell finds out and sets loose a whole chain of events that witness the destruction of the family.

    Kirk Douglas and Nancy Coleman are another brother and sister named Niles who get involved with the Mannon offspring. This was an early film for Douglas, had he been a bigger movie name then, he might have taken on the role Redgrave had.

    No matter how badly executed Mourning Becomes Electra was for the screen if I had a note from Eugene O'Neill praising my performance, that would be all the accolade I'd ever need.

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    • Wissenswertes
      Rosalind Russell received an Academy Award nomination for her role as Lavinia in this movie. Apparently, she was so sure she was going to win that when the winner was about to be announced, she had risen from her seat to accept it... only to discover that Loretta Young had won for her performance in Die Farmerstochter (1947).
    • Patzer
      While Adam Brandt stands by the bench where Lavinia is seated, he holds his hat by his side and then drops it on the ground. Instead of hastily picking it up and putting it on the bench next to him as he sits down, he seems to forget about it and leaves it on the ground after sitting down to talk to her.
    • Zitate

      Orin Mannon: You folks at home take death so solemnly. You have to learn to mock or go crazy.

    • Alternative Versionen
      This is (unfortunately) usually shown on television in a heavily cut 105-minute version. The 159-minute UK version can sometimes be seen on Turner Classic Movies.
    • Verbindungen
      Referenced in Der Superspion (1948)
    • Soundtracks
      Oh Shenandoah
      (uncredited)

      Traditional sea chantey

      Sung over credits and throughout film by unidentified male chorus

    Top-Auswahl

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    FAQ

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    Details

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    • Erscheinungsdatum
      • 19. November 1947 (Vereinigte Staaten)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Mourning Becomes Electra
    • Drehorte
      • RKO Encino Ranch - Balboa Boulevard & Burbank Boulevard, Encino, Los Angeles, Kalifornien, USA(Photographs)
    • Produktionsfirmen
      • Theatre Guild
      • RKO Radio Pictures
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    Box Office

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    • Budget
      • 2.342.000 $ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      2 Stunden 39 Minuten
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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