User Reviews

As an adaptation of a two thousand year old Greek tragedy, Michael Cacoyannis' "Electra" is hard to beat, and I cannot imagine it being improved upon by any further attempt on it now: there is a stripped down starkness and simplicity to it that benefits it greatly, and lends it the haunting quality of myth that no amount of CGI could better.

It has immaculately brooding, glowing cinematography, unsurpassably shot amid the ancient stones of Mycenae itself, and the music by Mikis Theodorakis (of Zorba The Greek fame) is timeless and perfect.

If I had to point out any weaknesses at all, perhaps Irene Papas in the title role looks a little too 60s in her look, although her acting is fine. There's a couple of gaps in the narrative that should probably have been filmed and inserted, as their absence either weakens the drama or feels confusing. But these are small quibbles.

Several times while watching I found myself thinking it would make a good double bill with Orson Welles' Othello, as it feels cut from a similar cloth, though it is a better film for being less wordy. Recommended.

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.

I have just seen this film again via DVD after first seeing it in a cinema 40 years ago, and it remains in my view a staggering masterpiece of world cinema. It is a film that should be compulsory viewing by all aspiring film-makers since it is, unlike so many of today's movies which really are over influenced by television, so cinematic it makes one positively nostalgic for concepts like film grammar and form. Cunningly, it is almost a silent movie with a wonderful soundtrack, and the acting, (outstanding by all concerned), shows the great value of body language, and how good film editing, the use of a superb musical score, and excellent black and white cinematography can convey such powerful and poignant emotions. The play on which it is based has of course the soundest of psychological under-pinnings; guilt is an emotion and state of mind that can ONLY be experienced once one has done something horrendous enough to make it possess you. It cannot be imagined or anticipated, and, even when "rational" thought seems to justify the act, as Elektra and Orestes find to their cost, this evaporates instantly once that rage has been quenched. The final sequence of this film, after the mother has been murdered, and when these realisations manifest themselves is so overwhelming and powerful that only the hardest of heart could not be profoundly moved. But, like all good psycho-therapy, it is ultimately sanctifying, even if at the same time it is heart-breaking and almost unbearably poignant. Certainly one of the best films I have ever seen in my life, and every department deserves the highest praise and congratulations. One of the very few films to which I have awarded a 10/10 vote.

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.

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.

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.

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 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 probably 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.

Two drawn out and overdramatic!

And seeing powerlines behind the trees just ruined any merit it had going for it, as apparently most people think this is a masterpiece.

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.

We in the western world are used to seeing Hollywood adaptations of Greek mythology, with the characters speaking English (and many of them having English accents). That makes it all the more refreshing to see Michael Cacoyannis's "Ilektra" ("Electra" in English), the first Greek movie ever nominated for Best Foreign Language Film at the Academy Awards. Euripides's tragedy, a timeless tale of treachery and deceit, gets the full treatment here.

Probably the key thing to note about this movie is the subtlety. It contains limited dialogue, with most of the emphasis on the acting. People's eyes do a lot of the acting here. Obviously we don't know exactly what the performers did in Greece 2,500 years ago. What I can say is that this movie manages to be intense without being shocking. It'll probably make more sense to you if you know ancient Greek works (I took a course on them in college). Whether or not you know them, you can't deny that Irene Papas puts on one of the finest performances of all time; she conveys so much without even talking throughout much of the movie. Definitely see it.

Do I like this movie because it appeals to my lingering intellectual snobbery and belief that the old-time Greeks, particularly Euripides were onto something? I can't deny that it's part of the reason, but surely the staging and Walter Lassally's striking black-and-white photography and Irene Papas' smoldering performance help. I won't give my customary synopsis, because you shouldn't need it. Nowadays we are no longer familiar with the revenge drama, which fell out of favor after the 16th century, but if you've ever seen Hamlet, you know what it is, with its bloodiness that should soothe our own blood lust. Perhaps we need to make them more often these days, with everyone dying at the end. Perhaps it would ease some of the tensions of modern America; our politics all too often seem to be about hurting the right people; perhaps a dramatic version of the Sandy Hook Massacre would make people think twice. Or perhaps it would make them think "Boy, that's cool!"

Such deep philosophical questions aside, this one is worth it for the stark beauty of the torchlit night scenes, and the ancient, ruined landscape of modern Greece. Plus a heckuva story and performances.

I came to view this film a long way around. I have watched the Richard Straus Opera "Elektra" in which there are people of the same name but different spelling than the film. In the play Elektra the eldest daughter is upset because her mother Klytämnestra and her mother's lover Aegisth killed her father the king, Agamemnon. She calls on her father's spirit and vows vengeance. Her younger sister Chrysothemis tries to talk her out of it. Her mother comes here drugged and sleepless asking Elektra what can be done to make amends so her nightmares will end. Elektra tells her that the blood of an impure woman must be shed. Later Elektra is told that her brother, Orest is dead so she tells her sister that she must help kill the mother and lover. Orest turns up alive and is coaxed into killing first Klytämnestra and then Aegisth. So much emotional hate and joy is released that Elektra dances until she falls dead.

Then there are several translations of the play by Sophocles 410 BC.

Now we come to the interpretation for this 1962 film play directed by Michael Cacoyannis of "Zorba the Greek" fame. The film takes 113 minutes; Approximately 15 minutes of dialog, 30 minutes of mime to cut out the bulk of the dialog from the play, and the rest of the filler of people milling around. I do not mean to sound trite but be prepared for long moments where we have to listen to an off-key string instrument or a bunch of horns that keep us focused on where the action should be. There is a moving song and a chorus that speaks out now and then. The set is the Greek landscape with a few structures. It is shot in black and white. This is saved by exceptional acting.

There is a touching scene where Agamemnon returns to greet his wife and children. Then we watch as Clytemnestra and her lover Aegisthus net in Agamemnon for the kill. Orestes gets led out to a foreign land and Electra is under house arrest until she grows up. She cuts off her hair in protest and is married off to an innocuous peasant. Will she ever get revenge? And is Orestes even alive? What ho, strangers' approach.

This is a tale of "...A family so noble and so damned at the same time."

To get a different take on the story you can read "Care of the Soul: A Guide for Cultivating Depth and Sacredness in Everyday Life" by Thomas Moore, where he tells the story a little different in depicting the role of becoming a mother.

The media I watched is a DVD with options of Greek: Mono, English: Mono or French: mono. Then the option also of English, French and Spanish Language Subtitles. The singing is done in Greek only, but you can use English subtitles to tell what they are singing. There are no pamphlets with this package.