Word: electras
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Dates: during 1940-1949
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When the public and the critics decided back in 1931 that they liked "Mourning Becomes Electra," they were welcoming the most ambitions, and perhaps even the most dramatically effective effort ever seen in the American theater. The play, a modern version of Aeschylus' resounding and grisly trilogy, "The Oresteia," lasted five hours, during which there were four violent deaths, a number of suggestions of incest, and scarcely a letup in the terrible tension. Now comes the movie. No concessions have been made to the public's sentimentality, and the compression of the film to two and a half hours makes...
...Mourning Becomes Electra" can hardly claim to be entertainment. It can be compared neither to the Hitchcock thriller that also mixes psychology and murder, nor to the "good" European film, also dramatic--but on purely human, and therefore familiar, terms. "Electra" is all O'Neill--deeply emotional, sonorous, and occasionally pretentious. Much of the picture consists of agitated, often repetitive talk, and even the general excellence of the acting cannot always keep the audience fascinated by the tortured characters who seem to keep themselves busy day and night expiating the guilt of their ancestors...
...Katina Paxinou plays Ezra Mannon's voluptuous, murderous wife with such a convincing mixture of malice and weakness that one forgets completely that the character is itself unrealistic and even ludicrous. Her murder of Ezra is revenged by her two children, the weak Orin, and the strong Lavina (the Electra of Aeschylus). After killing their mother's lover and making her commit suicide, they are obsessed by their own guilt, and Orin, who is played superbly by Michael Redgrave, commits suicide himself, while Lavinia, played by Rosalind Russell with what is probably the best acting of her career, retires...
...Mourning Becomes Electra...
...Mourning Becomes Electra...