Claudio Carvalho The powerful Greek shipowner and constructor Thanos (Raf Vallone) proposes to marry Phaedra (Melina Mercouri) during the baptism of a ship with her name. Phaedra, who is the daughter of Thanos'greatest competitor, is a bored woman and has a son from her first marriage. Thanos gives an expensive ring to Phaedra and soon he learns that his estranged son from his first marriage, Alexis (Anthony Perkins), has left the University of Economics in London to dedicate to paint. Thanos asks Phaedra to travel to London to bring Alexis to meet him in Greece. When Phaedra meets Alexis, she falls in love with her stepson and seduces him. Their doomed love affair leads the family to a tragedy."Phaedra" is a melodrama directed by Jules Dassin with his mate and future wife Melina Mercouri in the lead role. The storyline is based on the tragic story of Phaedra from the Greek mythology and this tale of obsession could have been a soap opera in the hands of another director. Last but not the least, the performances, locations and soundtrack are great. My vote is seven.Title (Brazil): "Profanação" ("Profanity")

krocheav How painfully true was John Simon's critical summary for 'Phaedra'; "Unfortunately Unforgettable". When I experienced this work as an impressionable youth going through the turmoils of young love and relationships it left me shattered. I knew I was in for a tour-de-force the instant that electrifying scream rang out before the main title! (sure would like to know who the creative genius was that came up with that stunning idea...don't believe I'd ever seen or heard that done before!) Here was my dream, a profound, life changing love - but with one huge problem it was doomed. The power of this film lies in the political connections that gave it birth. Firstly; director (Dassin) who had been hunted out of the homeland of his birth, never to return. Then his romantic involvement with a politically passionate Greek woman (Mercouri), born into a heavily political family in Athens and who would herself eventually be forced out of Greece. Add to this the politically persecuted Greek composer Mikis Theodorakis who, as with Dassin, was forced to flee his native country. This crew alone represented a powerful force of creative people with something to say! It's little wonder the first meeting between Phaedra and her stepson takes place in the British Historical Museum, in front of fragments of the Elgin Marbles, the Marbles that Mercouri would later devote so much time fighting for their return to Greece (a Greece that was also foolish enough to let many valuable artefacts go for monetary gain) Looking back at this great movie, my main regret is that almost none of those that make up the characters of Phaedra are particularly likable. We have overly rich and powerful people that live only for becoming richer. They are bored with themselves and are too often motivated towards immoral 'games' to alleviate boredom at the emotional expense of others.Deviating from our basic understanding of acceptable loving human relationships, all too often results in disaster, and here, the disaster builds like a tidal wave - one situation cascades from another like an avalanche. Apart from a basis in classic Greek literature (the pen of a man known as one of the most tragic of poets) Euripides' 'Hippolytus', what else makes Phaedra great? If you take away the astonishingly haunting music of Theodorakis with its song lyrics written by great Greek poet Nikos Gatsos, who helped make famous many melodies by Manos Hadjidakis and songs by Nana Mouskouri, the film would loose half of its considerable impact.Another vital element is the huge contribution of Turkish born lighting/cinematographer: Jacques Natteau known for his famous collaboration with Jean Renoir. Natteau's visuals draw you into each moment with striking emotional impact. On location shooting on the Island of Hydra supplies a grand setting. Hydra at that time was largely an Island without cars (Donkeys were, and still are, used for transport) Dassin either got special permission or used another location for the spectacular scenes involving Alexis' Aston Martin 'dream' car. Under Dassin's gifted direction these elements forge together an unforgettable cinematic experience.Melina Mercouri for me, is far from beautiful, and this stretched believability in the rapid seduction of young Alexsis just a little, but as described within the film... she has unique facial and physical qualities. The intense Anthony Perkins turns in a strong performance as the vulnerable, disintegrating, Alexis. Raff Vallone also delivers both a powerful and devastating performance as the shockingly betrayed Husband and Father. This is super strong storytelling that will haunt the sensitive viewer for many years. Yes Mr Simon, for any of it's regrets, it remains 'unforgettable'. Footnote: How tragic it is that the best arrangement/performance of the main theme music (with Oboe), was never included on any of the 'original' sound track recordings. With the 'Main Title' being the first thing you hear in the film (after that shock scream that is!), why would you leave it off!? I imagine the only person still alive that could explain would be Mr Theodorakis, and while it would be interesting, it's rather unlikely to happen. Not withstanding, it has taken over 50 years for MGM/UA to finally make this film available on a quality 'studio' DVD, so, small miracles do happen! KenR

chayward-590-787358 Saw Phaedra as a teen in 1962 and have been haunted by the final scenes ever since; specifically, the organ music piece playing as Perkins drives the car. What is that piece, ie, BWV# of that Bach music? I have been trying to re-hear that for many years. Anybody know? Many thnx for an answer.The chariot/car was an Aston-Martin DB3, one of the few credible British critiques of/responses to Enzo Ferrari's exuberant creations of that era. Sean Connery's James Bond drove a DB5, iirc.Of course, Melina Mercouri was totally hot to an early 60s male teen, with a proper can on her, unlike today's androgynous anorexic sylphs...(superfluous lines added to fulfill commenting requirements)

moonspinner55 Updated Greek tragedy, coated with a decadent touch of Hollywood and memories of old Joan Crawford movies. Glittering locales highlight this melodrama about a Greek shipping magnate who needs his estranged 24-year-old son to complete a business merger; he asks his second wife to fly out to England and talk sensibly to the boy, but instead, a flirtation develops between step-mother and step-son. After a sequence of indescribably lusty lovemaking, the wife calls off the affair--but just as quickly changes her mind, spiraling into obsessive love for the young stud. The film's beautiful visuals are such a pleasure to take in, it is almost easy to overlook the movie's main flaw: that lazily-rich and chic Melina Mercouri would never turn away her powerful, handsome, adoring husband for this kid, a ne'er-do-well artist and economics school drop-out! That being said, Anthony Perkins does the step-son role justice; although he keeps his mouth too tight (in a grimace) and his eyes continually dart around like Norman Bates, Perkins has a charming ambiance here (especially in the early part of the picture)--a boyish nervousness which suits the film just fine. As Mercouri's hairy-chested husband, Raf Vallone seems more Melina's type, yet she turns away from him like a frigid housewife. It doesn't quite play, however each actor handles the escalating tensions of the plot with surprising seriousness, leading to a tragic finale which really appears heartfelt. An emotional roller-coaster, "Phaedra" is gorgeously shot by Jacques Natteau, blissfully scored by Mikis Theodorakis, and soap fans should eat it up. *** from ****