Oedipus Rex

Sophocles, William Butler Yeats, Tyrone Guthrie -- sounds like a winning combination, doesn't it? And for the most part it is. Like Shakespeare's Hamlet, it may be one of the best known plays in the Western world. Unlike Shakespeare, though, it cannot really be done "realistically." Greek drama is not realistic, but highly formal. What Guthrie tried to do in this production was capture the artificiality, with all of the principals wearing great masks, such as might be seen at great distances, from the back of the theatre of Dionysus. Masks don't change expression, and at times, the masks don't match the words, but that is the way the Greeks would see the play. Besides, the fixed masks continually remind us of the underlying sadness and doom of the play. He also had the actors deliver their lines in a rather sing-song fashion, which at times proves almost too much. Unfortunately, he did not have the chorus really move about the stage dancing during their choral odes, as they probably did when the play was performed in the Theater of Dionysus in Athens in the 5th c. BCE. Still, it is probably the best way to see what a Greek play must have been like for those who saw it in ancient Athens so long ago.

Read the book, then found this movie at the British Council and rented it. First thing: I found the movie's translation (by W. B. Yeats) much nicer than the translation I read. Second: I found the king's rage scene really wonderfully acted, even though that part in the book didn't suggest much dramatic climax to me (it was supposed to be just the king relating an exposition of antecedents.) That scene alone I think makes this movie worth watching, it is a very poetic sort of rendering of violence. The voice of the king overall is great. Several scenes really show great acting of the solemn kind. The details in the masks are truly worth watching as some others mentioned. Even the hair of the king (back of the mask) is quite a sculpture on its own. Also the long hands and nails, as well as the seer in white.

An attempt to film a Greek tragedy as the Greeks would have seen it, or at least somewhat so. It's intentions are noble, but it doesn't really have any ideas of its own. This is one dull film. The monotonous chanting might have worked for the ancient Athenians, but it cancels out the greatness of the play for modern viewers. Watching this version, Sophocles' play feels entirely irrelevant to us today. Even though I'm a classics scholar, I've always disliked adaptations of the tragedies – I feel that we could never really capture what they meant to their original audience, simply because we are so vastly different from them. Fortunately, on a very rare occasion, someone gets it right. Skip this and see Pasolini's 1967 version of the same play. On a side note, William Shatner, in his second feature film performance, plays one of the chorus members. You can't see him, however, on account of his mask.

This is a 1957 recording of the stage production of Sophocles' Oedipus Rex. It is performed with minimal props and some smoke. As the custom of ancient Greece, the players wear masks. The masks are larger than life and do not cover the whole face allowing for some expression and clarity. Coordinating with the masks are certain colored robes; there is a gold mask for the king, silver mask for the queen, a white mask for the seer, corresponding colors for major players and the chorus.

Speaking of the chorus. I have the DVD and have watched it several times. Suddenly, looking at the chorus, there was a 26-year-old William Shatner; he looks like a baby.

The play is the story told over two thousand years ago of the destruction of one man so that his people might live. Oedipus will gradually discover that he fulfilled the prophecy and crime of killing his father and marrying his mother. The actual wording of the play may vary from the written version.

Now after the introduction and background, watch as the citizens approach and see the unfolding of this tragedy.

Reading "Oedipus and Akhnaton" by Immanuel Velikovsky may shine a different light on this play.

The masks, the acting, the familiar play and the guilty of the king.

Each is the essential pillar of this profound inspired adaptation, story of revelation of the source of plague , confrontation against the past and genesis of truth.

The atmosphere is the basic good point, like a trip in the Athens theater , discovering not exactly a story but a kind of reality because the great tragedies are only reminds of od, profound present fears laying in us.

Great performances and seductive version of Yeats.. A good spectacle ? Obvious, little more. A delight , well crafted, offering beautiful version of an essential brick of human civilisation.