Electra, a Vingadora

An extraordinary film from a visual and dramatic standpoint, _Elektra_ unfortunately too often plays like a _Cliff's Notes_ version of Euripedes' work (although, in all fairness, I must note that the film is only "based on" the classical play). The essential structure is there: Agamemnon's murder, the banishment of Orestes, Elektra's marriage, the reuniting of the grown children, the double murder. But by clipping away much of the Euripedean dialogue, much depth of characterization is lost. The principles become one-dimensional, with only hints of the complexity which makes the story so overwhelming. However, the stark cinematography and fine acting make this film eminently watchable, particularly at the climatic matricide sequence.

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.

I accidentally came across this film while looking through used DVDs at a local store. Having a passing interest in Greek myth, I bought it sight unseen. Far, far better than recent American and British attempts to retell (read remake) these great stories, this marvelous film stays fairly close to the original, telling a tale of betrayal and revenge. I've always loved the story of Orestes: damned if he doesn't avenge his father's murder, damned if he kills the chief assassin-his own mother. Elektra's story is woeful as well-driven by her own desire for vengeance, a vengeance she believes will never come, only seeing her own doom and the triumph of her father's murderers.

Wonderfully acted by Irene Pappas. I'm recommending it to all my friends.

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.

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.