Elettra

Slow. Deliberate. Engaging. Mesmerizing. Poetic.

The real star of the show is the exterior shots. The acting, especially by Papas, is deservedly acclaimed. The music score is sumptuous. The minimal dialogue serves to heighten the film-watching experience. But what strikes me dumbfounded is the amazing blocking of the actors...most assuredly by the director...as it mimics true choreography.

One imdB reviewer labels this film a "snorefest". I can understand that opinion if you require something action-oriented. This film is purely cerebral, so don't expect something beyond that.

Oddly enough, my cable provider classifies this film as AO--Adults Only. That rating, also known as NC-17, is reserved for sexual content deemed too explicit to warrant an R rating. Be assured there's absolutely and assuredly nothing explicit about this film. No sex. All violence is implied.

Recommended for cinema junkies.

each time when I see it, I discover "Electra" as revelation. for the great cinematography, for beautiful performances, for the admirable translation of the play of Euripides in precise portrait of feelings, guilty, desire, the huge sin. all is the part from a lost world. the traces of words, the clash between white and black, the group of women, the landscapes, the knowledge of viewer who is only a piece of clay for Cacoyannis. Irene Papas as the only Electra , like in manner in which, in "Iphigenia", she is the unique Clitemnestra. Giannis Feris as the Orestes who preserves in his presence entire spirit of old Greek statuary art. and, for a long time in the case of me, the axis of film, Aleka Katselli, remembering the memories about Micene and the Troyan war from the history lessons.a film who remains a revelation. about the deep essence of humankind.

From the first moment I saw the movie I rejoiced every bit of it : the crisp splendid black-and-white photography introducing an overwhelmingly barren landscape interacting with the drama we all know to come, the haunting "ancestral" score by Theodorakis, the impact of all sounds, the use of the choir with its laments and warnings and commentaries on everything and everybody, the tensions between good and evil mixed with love and hate, the unavoidable fate of the protagonists who cannot escape destiny as prescribed by bloodline and gods.

Besides being moved by too many unforgettable scenes enforced by splendid suggestive cutting (the actual murders, Electra's cutting her hair for the revenge to come, the confrontations between mother and daughter or brother and sister expressing their antagonistic emotions), the ultimate brilliance this masterpiece is Irene Papas outcry of grief and distress, the camera turning on itself as taking literally heaven and earth as her witness.

Appealing as strong to me as E. Munch's cry or Picasso's Guernica, I visited Mycene much later and still felt the movie's impact discovering this cursed place through Cacoyannis' lens.

Euripides is the most 'modern' of the ancient dramatists in terms of his psychological penetration and the motives of his characters. This makes his plays ideally suited to the medium of film. Michael Cacoyannis set about the task of filming an Euripidean trilogy of 'Electra', 'The Trojan Women' and 'Iphigenia' of which 'Electra' is arguably the best. The score of Theodorakis, cinematography of Walter Lassally and a fabulous cast headed by Irene Papas as Electra, Yannis Fertis as Orestes, Aleka Katselli as Clytemnestra and Manos Katrakis as the Tutor all contribute to a stunning and mesmerising filmic experience. Cacoyannis, Lassally and Papas would go on to make 'Zorba the Greek' and Papas would play Helen and Clytemnestra for the same director.

Euripides wrote 'Electra' in about 420 bc and like those other masterpieces of the human mind 'Hamlet' and 'Phaedra', it is for all the ages. Let us be grateful to Cacoyannis for having given us this splendid version. Top marks.

Euripides pared to the essentials. Not one word, not one gesture is wasted. Nor is there ever an iota more than necessary.

A stark, spare study of despair in a sun blasted landscape that seems to watch over the pathetic efforts of humans with equal measures of timeless indifference and utter contempt. The characters in the story, the actors on the screen, and we in audience know what will happen next; but we are all powerless to prevent it. It is so intense that it makes Shakespeare's 'King Lear' seem almost frivolous.

It takes five minutes for the first two words to be spoken. 'Strike him!' Everything flows from that line. Another ten minutes of near silence passes before Electra appears. Her back to the camera, she turns to look over her shoulder - electricity is discharged. The audience gasps. Nothing is said but the implacable will is communicated. Nothing good is going to happen next.

It is almost a silent movie. They certainly have faces, to quote Gloria Graham from 'Sunset Boulevard.' By looks, by camera angles, by gestures, by the tensing of shoulders, the widening of eyes, make-up, fine photography, tight cutting, and very few words the tragedy unfolds.

It is always about Electra, to be sure, and Irene Pappas is a force of nature on the screen. She says little but each move, gesture, look, and word is supercharged.

Recommended for adults.