Reviews (3)

Powerful, Professional, & Intelligent.
I saw "Dream of Passion" on its original release and have never forgotten the riveting and disturbing impressions it made upon me, nor the memorable performances of both Ellen Burstyn and Melina Mercouri as the murderess and the actress. The theme of appalling revenge for a husband's betrayal is as timeless as the beautiful Greek settings in which it is photographed, and creates a gripping tension. An unusual and powerfully acted film, which unfortunately I have never been able to watch again as I have not found it re-released and it appears to be unavailable except in US /Canadian format. I would be delighted if anyone has any ideas on how I could watch it here in Australia! Are there any gizmos which could make it work on my Aussie video player & telly?

Overwhelmed
I saw this film in a theatrical release and have never forgotten its power. This film is a story within a story, showing the effects of jealousy and rage taken to extremes. Melina Mecuri is an actress preparing a production of Medea and is working with a former lover who rejected her for another woman. As research for her role, she goes to visit in prison a woman (played marvelously by Ellen Bursten) who has actually killed her children in a revengeful, jealous rage against her unfaithful Greek husband. Her ordinariness, complete absence of regret and the power of her rage are a facinating combination. Melina, along with ourselves, becomes a horrified witness (in flashbacks) to the children's murder. The emotions evolked were so powerful that I and my companions were literally stunned speechless by this film.

"CULTURED CLASH"
Jules Dassin's brilliant vision of actress [and spouse] Melina Mercouri's journey to theatrical Hell and Back is a rarely seen masterpiece.

Premise? Mercouri is about to embark on a production of MEDEA and uses incarcerated Burstyn [American wife/Greek Husband] as inspiration. Spontaneous improvised moments - especially the conversation about Brando and the "real" [possibly autobiographical] moments from "Last Tango in Paris".

Memorable moments between the two women!

Recommended? Pasolini's classic version of "MEDEA" with Callas - also a rare find!

[Now, what happened to "PHAEDRA" ? With Melina Mercouri, Anthony Perkins and Raf Vallone - a brilliant modern adaptation, by Jules Dassin]. ... Read more

Reviews (3)

Needs viewing thrice
It is true the more knowledge of the play by Sophocles and of Greek plays in general the more you can appreciate this rendition. However the interesting thing about this presentation is you can start from ground zero and come away with everything the tragedy is about. Even though the story is well know I will not go through it incase this is your first time.

There is an introduction to bring you up to date from Oedipus through his descendents and history to today where you meet Antigone and her sister Ismene. Their decisions partially ordained and those of the new king Creon decide the outcome. You may find yourself quoting this play as you would Shakespeare's plays.

The reason for watching it multiple times is the first time around you may be busy reading the subtitles of which some flash and are gone. The second time around you may keep an eye on the acting. The third you will get used to the Greek and even if you do not speak it you will find much filled in that was not sub titled. By now you will be hooked and have to watch it periodically.

Wow!!
Irene Pappas was the greatest!! I loved this Antigone. I imagine that everyone who would order this knows the story, so no need to go into it. The passion and range of Ms. Pappas is incredible. This is an extremely high quality presentation. Every lover of Greek theater should have this!

Irene Pappas performs Sophocles's "Antigone" in Greek
This 1961 version of Sophocle's tragic drama "Antigone" will not work as an introduction to Greek tragedy. The play is performed in Greek (with subtitles), so I would never recommend it as the first exposure any one has to the performance of an ancient play; there is a 1972 version with Genevieve Bujold that would better serve. However, this particular version does offer Irene Pappas, long considered one of the greatest of Greek actresses, in one of the greatest roles in the nation's history (the only thing better would be to see her perform "Medea"--or maybe Clytemnestra in the "Orestia"). Of course, when "Antigone" was first performed women were not allowed to be actresses; in fact, the only women allowed in the theater of Dionysus in Athens were prostitutes. Pappas is a shade too old for the role, but there is a sense in which performing these plays is more akin to opera than conventional theater. Besides, she plays up Antigone's stubborn streak in a way that gives entirely new shadings to much of the play.

Following the ending of "Oedipus the King," Oedipus was exiled from Thebes, blind and a beggar. We also learn from "Oedipus at Colonus" that his sons, Eteocles and Polyneices engaged in a civil war for the throne of Thebes. The two brothers kill each other and Creon (Manos Katrakis), brother of Jocasta, becomes king. He orders that Eteocles, who nobly defended his city, shall receive an honorable burial, but that Polyneices, for leading the Argive invaders, shall be left unburied. This leads Antigone (Pappas), sister to both of the slain brothers, to have to choose between obeying the rule of the state, the dictates of familial binds, and the will of the gods.

It is too easy to see the issues of this play, first performed in the 5th century B.C., as being reflected in a host of more contemporary concerns, where the conscience of the individual conflicts with the dictates of the state. The conflict in "Antigone" is not so clear cut: Creon has the right to punish a traitor and to expect loyal citizens to obey. Ismene (Maro Kodou), Antigone's sister, chooses to obey, but Antigone takes a different path. The fact that the "burial" of her brother consists of the token gesture of throwing dirt upon his face, only serves to underscore the ambiguity of the situation Sophocles is developing. Even though the playwright strips Creon of his son, Haemon (Nikos Kazis) and wife, Eurydice (Ilia Livykou) by the end of the drama, it is not a fatal verdict rendered against the king's judgment, but rather the playing out of the tragedy to its grim conclusion.

The more you know about the conventions of the Greek theater, the more you will enjoy this filmed performances. The cast manages to maintain the formalities of the ancient drama while infusing the performances with more modern, naturalistic techniques of acting. Pappas is at the center of the performance just as her character is at the heart of the play. I have seen her in a few roles where she has performed in English, but they only hinted at the legendary passions she displays in this film. This is the one for which you will remember Irene Pappas as an actress. ... Read more

Reviews (3)

Powerful, Professional, & Intelligent.
I saw "Dream of Passion" on its original release and have never forgotten the riveting and disturbing impressions it made upon me, nor the memorable performances of both Ellen Burstyn and Melina Mercouri as the murderess and the actress. The theme of appalling revenge for a husband's betrayal is as timeless as the beautiful Greek settings in which it is photographed, and creates a gripping tension. An unusual and powerfully acted film, which unfortunately I have never been able to watch again as I have not found it re-released and it appears to be unavailable except in US /Canadian format. I would be delighted if anyone has any ideas on how I could watch it here in Australia! Are there any gizmos which could make it work on my Aussie video player & telly?

Overwhelmed
I saw this film in a theatrical release and have never forgotten its power. This film is a story within a story, showing the effects of jealousy and rage taken to extremes. Melina Mecuri is an actress preparing a production of Medea and is working with a former lover who rejected her for another woman. As research for her role, she goes to visit in prison a woman (played marvelously by Ellen Bursten) who has actually killed her children in a revengeful, jealous rage against her unfaithful Greek husband. Her ordinariness, complete absence of regret and the power of her rage are a facinating combination. Melina, along with ourselves, becomes a horrified witness (in flashbacks) to the children's murder. The emotions evolked were so powerful that I and my companions were literally stunned speechless by this film.

"CULTURED CLASH"
Jules Dassin's brilliant vision of actress [and spouse] Melina Mercouri's journey to theatrical Hell and Back is a rarely seen masterpiece.

Premise? Mercouri is about to embark on a production of MEDEA and uses incarcerated Burstyn [American wife/Greek Husband] as inspiration. Spontaneous improvised moments - especially the conversation about Brando and the "real" [possibly autobiographical] moments from "Last Tango in Paris".

Memorable moments between the two women!

Recommended? Pasolini's classic version of "MEDEA" with Callas - also a rare find!

[Now, what happened to "PHAEDRA" ? With Melina Mercouri, Anthony Perkins and Raf Vallone - a brilliant modern adaptation, by Jules Dassin]. ... Read more

Reviews (6)

Cacoyanis one of the giants directors in any age
Irene Papas as Elektra gives probably her finest perfomance ever. Cacoyanis made an exceptional translating process with this drama from Euripides.
The fundamental atmosphere of the female chorus and all the haunting drama hidden about the revenge to make justice is told
brilliantly.
Cacoyanis shows us why he was blessed by the Gods .
Acquire this superb masterpiece.

those who live greatly ......
must greatly suffer - something along that line - but that quote belongs to the Sophocles version - this one's a little more method - although slightly too emotional [but then - there goes ther movie and the performances!] Always bearing in mind that these great works were written as rituals - not as .... entertainment. [This version is slightly too close to the kitchen sink - smatters of that great Juliette Greco vehicle "The Crack in the Mirror"].

BUT for what this version is worth IRENE PAPAS is spectacular as the misbegotten daughter seeking revenge - choreography of the chorus is superb as is the bleak, bleak cinematography.

Perfect and no doubt authentically researched costume design.

Powerful drama
Interesting that this 1962 film's director, Michael Cacoyannis, also directed Zorba the Greek and that the latter film also starred Irene Papas who plays the title character in Electra. It easily demonstrates Cacoyannis' artistry as a director, for in this film, he does a masterful job of interpreting the Euripides drama.

Filmed naturalistically in Greek settings, Electra does not disappoint. The great hero and king Agamemmnon is brutally murdered near the beginning of the story by his wife Clytemnestra and her lover Aegisthus. Electra and her brother Orestes, children of the royal couple, are both thrown out of their palatial home--Orestes is exiled, and Electra forced to marry a commoner and live in a hovel.

The term "Electra Complex" refers to a daughter's unnatural love for her father and while this is not overtly portrayed here, the hints are certainly in place. Even when her mother tells Electra of the king's infidelities the daughter defends him, citing the queen's own as proof of the latter's treachery.

Electra and Orestes take revenge on the couple who have killed their father--not without great remorse.

Cacoyannis' skill is demonstrated in his choice to film this work in black and white, accentuating the starkness of the tale, which contains numerous stretches of silence, an effective Greek chorus of village women (all clothed similarly in black), and an equally effective score by the great Greek composer Mikis Theodorakis who also composed the music for Zorba the Greek. The story is pure drama--the emotional elements are laid bare in the stripped to the bone dialogue that wastes no words.

The cinematography as well emphasizes the basic elements of earth and sky; black and white has seldom been used as well in a drama as it is here. Earth is the land of man where we live and die; sky is the land of the gods to whom we appeal for everything we want that we don't have. And whether or not we get what we want--who can say?

Highly recommended.

LOVE+PASSION+GREEKS=REAL MOVIE
Greek director Michael Cacoyannis brings Euripedes' classic tragedy to the screen with great liberties. Taking off from the murder of Agamemnon, this version of the tragedy sticks to the basic story of Elektra marrying and the ensuing double murder. Yet, Cacoyannis has stripped away much of the original dialogue in favor of stark cinematography and silent stretches. Irene Papas is outstanding as the doomed heroine. Pure Cinematography...excellent film

The Greeks knew their psychology!
This screen version of ELEKTRA shows how ancient Greek culture knew instinctively so much about human psychology long before Freud came along to carry on the good work. It is a deeply moving and cathartic experience that touches upon dark recesses in the human psyche, and too, confronts our philosophic "certainties". Above all, it teaches us that most valuable lesson; that guilt cannot be imagined - the deed has to be performed and then, and only then, does guilt or justification enter into your consciousness. Elektra and Orestes feel totally justified in killing their mother, but, when she gives her side to the story, doubts begin to ebb in, and once the deed is done, nothing can absolve the guilt and shame that descend on their shoulders. A powerful, potent film, superbly made, acted and assembled, and one of the very few, in a long lifetime of movie watching, that I have given my top star rating to! Am delighted that it is at long last available, because it is unjustly neglected and forgotten. Highly recommended. ... Read more