Kirpianuscus 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.

michaelj108 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.

lulu18 Possible spoilers if you haven't seen Iphigenia I recently watched the opera Elektra with Birgit Nilsson and nibbling back of my mind was didn't Agamemnon sacrifice his daughter? If so, why would Orestes and Elektra be so hell bent on killing their father when he murdered their sibling? If you had seen Iphigenia, then you would have seen that she was hell bent on revenging her daughter's death. Maybe Orestes and Elektra forgot about their sister, loved their Dad so much they could forgive him for his deed or maybe they were just glad their sister was gone. time to reread the plays.However, I loved the movies and Irene Papas is a real force of nature.

Tony-41 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.