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Il lutto si addice ad Elettra

Titolo originale: Mourning Becomes Electra
  • 1947
  • VM16
  • 2h 39min
VALUTAZIONE IMDb
6,3/10
1395
LA TUA VALUTAZIONE
Il lutto si addice ad Elettra (1947)
Drama

Aggiungi una trama nella tua linguaEugene 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.

  • Regia
    • Dudley Nichols
  • Sceneggiatura
    • Eugene O'Neill
    • Dudley Nichols
  • Star
    • Rosalind Russell
    • Michael Redgrave
    • Raymond Massey
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,3/10
    1395
    LA TUA VALUTAZIONE
    • Regia
      • Dudley Nichols
    • Sceneggiatura
      • Eugene O'Neill
      • Dudley Nichols
    • Star
      • Rosalind Russell
      • Michael Redgrave
      • Raymond Massey
    • 46Recensioni degli utenti
    • 17Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 2 Oscar
      • 5 vittorie e 2 candidature totali

    Foto6

    Visualizza poster
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    Interpreti principali28

    Modifica
    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
    • Regia
      • Dudley Nichols
    • Sceneggiatura
      • Eugene O'Neill
      • Dudley Nichols
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti46

    6,31.3K
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    Recensioni in evidenza

    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.
    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.
    Jack_Me

    One example of something Film can offer, and so rarely does

    I found this film fascinating, stimulating, and a thoroughly enjoyable experience. Though I have not ever seen a stage production of the O'Neil original, this nearly 3 hour long film seemed to be essentially a filmed version of that play. And for that I thank the filmmakers of this production, actors, directors, producers and studio. In reviewing other's opinions about this film, I am amazed that so often the negative criticisms concern exactly those strengths I found in this film. That it was not full of artificially cooked-up "atmosphere" from Steiner (whom I do truly respect and enjoy elsewhere), that it was not full of quick cuts and microscopic closeups was something I found wonderful. That it was confined essentially to a very few sets was also wonderful. Those sets were very detailed and not skimpy at all. This was a filmed play! That some should state that as a negative is beyond me. There are so many films (even in this film's release era of 1947) available to so many people in so many areas, but how many of us have been lucky enough to experience a great playwright's work, brought to life by great acting and delivery? Far far fewer folks, in far far fewer venues, and far far fewer locations. This then is what I mean when I say that this film was one example of something Film can offer and so rarely does. The opportunity to experience a play!

    And what a wonderful experience it was. The acting was terrific. After more than one scene between Christina and Lavinia, I fairly exclaimed with pleasure at the dramatic interplay between the two. What some called disdainfully "overacting", I found thrilling and stimulating. After all, one is not watching a home movie of one's family or friends. So called "realism" in many modern films is in my mind vastly overrated. A work of film, or of the stage, should be "realistic" it is true, but should not ever be so real as to distract from the art itself.

    Tastes change and film-making is an industry to make money like other manufacturing methods. But part of the admiration for what is often called the "Golden Age of Hollywood" is attributable to the then less uncommon understanding that "Art" was as valid the goal as earning a profit! At least by the people involved in the acting and production, if not by the investors themselves. Sure there are occasionally great films made today, and there were plenty of "B" pictures made then too, but to critically dismiss this film for not being something other than what it was, is to miss the point I feel.

    Rosiland Russell Rules! JACK in Maine
    8sdave7596

    Great performances!

    I caught this film on TCM about six months ago and recorded it on my DVR. I loved it! "Mourning Becomes Electra" made in 1947, is long, at just about three hours. At first glance, Rosalind Russell (at age 40) is a bit long in the tooth to play Lavinia; but once you get past that, she is quite good in the part. The scenes between Russell and Katina Paxinou (playing Russell's mother, Christine) were mesmerizing. Michael Redgrave (playing the son Orrin) is a bit stiff in the first part of the movie, but once he goes "crazy" with guilt in the last part, he is brilliant. Raymond Massey, playing the father, is in the film only a short time, but is memorable as Ezra, the war weary husband to Christine. A young Kirk Douglas is good too as Lavina's suitor. This film has it all - murder, greed, dark family secrets, revenge, lust. It is too bad this film is sadly forgotten. It flopped when it opened in 1947 - probably too long and involved for audiences a that time. And too bad Rosalind Russell did not win the Oscar for it - what an injustice. Russell had been considered the favorite to win, but a long shot nominee, Loretta Young won for "The Farmer's Daughter" a far lesser film than this one, in my opinion.

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    Trama

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    Lo sapevi?

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    • Quiz
      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 La moglie celebre (1947).
    • Blooper
      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.
    • Citazioni

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

    • Versioni alternative
      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.
    • Connessioni
      Referenced in Un sudista del Nord (1948)
    • Colonne sonore
      Oh Shenandoah
      (uncredited)

      Traditional sea chantey

      Sung over credits and throughout film by unidentified male chorus

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    Dettagli

    Modifica
    • Data di uscita
      • 19 novembre 1947 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Mourning Becomes Electra
    • Luoghi delle riprese
      • RKO Encino Ranch - Balboa Boulevard & Burbank Boulevard, Encino, Los Angeles, California, Stati Uniti(Photographs)
    • Aziende produttrici
      • Theatre Guild
      • RKO Radio Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 2.342.000 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      2 ore 39 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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