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Film Review
I found this DVD at Borders last week. I had not known a movie version of MOURNING BECOMES ELECTRA had ever been made. I took it off the shelf assuming this would be something from about 1970, when a fair number of stage plays were being filmed. That this was from 1947 surprised me. I bought it and was again surprised to find that, unlike almost any film from that era, the actors didn't speak three times faster than people actually do in life. Rosalind Russell is perfect in this uncharacteristic role. Usually she plays wise-cracking sophisticates. Here she plays it straight, which works beautifully. I absolutely see her as this character. Michael Redgrave gives a harrowing performance as her tortured brother, a recently returned Civil War veteran. He delivers one of O'Neill's greatest speeches, a recitation of his moment of military triumph. It's gut-wrenching. I haven't been able to find where this was filmed, but, if it was filmed in Hollywood I have to say I thi…
I caught this film on TCM about six months ago and recorded it on my DVR. I loved it! "Mourning Becomes Electra" made in 1947, is long, at just about three hours. At first glance, Rosalind Russell (at age 40) is a bit long in the tooth to play Lavinia; but once you get past that, she is quite good in the part. The scenes between Russell and Katina Paxinou (playing Russell's mother, Christine) were mesmerizing. Michael Redgrave (playing the son Orrin) is a bit stiff in the first part of the movie, but once he goes "crazy" with guilt in the last part, he is brilliant. Raymond Massey, playing the father, is in the film only a short time, but is memorable as Ezra, the war weary husband to Christine. A young Kirk Douglas is good too as Lavina's suitor. This film has it all – murder, greed, dark family secrets, revenge, lust. It is too bad this film is sadly forgotten. It flopped when it opened in 1947 – probably too long and involved for audiences a that time. A…
America's greatest 20th century playwright, Eugene O'Neill, never transferred well to screen. Not enough car chases and gun fire perhaps over the healthy running time ( two hours and beyond) usually accorded his works which uncoiled at a challenging but well metered pace suited for theatre. Watching a live actor treading the boards, slowly disintegrating before our eyes can make for a powerfully emotional experience, but on film the dynamic changes and it is left up to the director to breathe life and give form in the transfer. In Mourning Becomes Electra director Dudley Nichols plays it safe and sorry with over top stagy performances and filmed backdrops that have a look of canvas. Bereft of its immediacy and natural state Nichols fails to capitalize with the cinematic tools he has to counter balance and Mourning becomes one big moan.Lavinia Manon makes no bones about the love she feels for her father returning home after the Civil War. General Manon is a taciturn mover and…
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