Mourning Becomes Electra (1947)

User Rating:

6.4/10   

Director:

Dudley Nichols

Writers:

Dudley Nichols (writer)
Eugene O'Neill (play)

Release Date:

19 November 1947 (USA)

Genre:

Drama

Tagline:

The Most Sinister Triangle In Dramatic History!

Plot:

Eugene O'Neill's updated version of the Orestaia. In New England, after the American Civil War, a war-weary Agamem--er...

Plot Keywords:

Lover | Suicide | American Civil War | New England | Brother Sister Relationship

Awards:

Nominated for 2 Oscars. Another 2 wins

Cast

Rosalind Russell	...	Lavinia Mannon
Michael Redgrave	...	Orin Mannon
Raymond Massey	...	Brig. Gen. Ezra Mannon
Katina Paxinou	...	Christine Mannon
Leo Genn	...	Adam Brant
Kirk Douglas	...	Peter Niles
Nancy Coleman	...	Hazel Niles
Henry Hull	...	Seth Beckwith
Sara Allgood	...	Landlady
Thurston Hall	...	Dr. Blake
Walter Baldwin	...	Amos Ames
Elisabeth Risdon	...	Mrs. Hills
Erskine Sanford	...	Josiah Borden
Jimmy Conlin	...	Abner Small
Lee Baker	...	Rev. Hill

Runtime:

173 min | UK:159 min | USA:105 min (edited version) | USA:121 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (RCA Sound System)

Certification:

USA:Approved (PCA #12361, Adult Audience)

Company:

RKO Radio Pictures

Trivia:

The original Broadway production of "Mourning Becomes Electra" by Eugene O'Neill opened at the Guild Theater on October 26, 1931, ran for 150 performances and was revived in 1932 and 1972.

Movie Connections:

Version of Trauer muss Elektra tragen (1970) (TV)

Soundtrack:

Shenandoah

One example of something Film can offer, and so rarely does

I found this film fascinating, stimulating, and a thoroughly enjoyable experience. Though I have not ever seen a stage production of the O'Neil original, this nearly 3 hour long film seemed to be essentially a filmed version of that play. And for that I thank the filmmakers of this production, actors, directors, producers and studio. In reviewing other's opinions about this film, I am amazed that so often the negative criticisms concern exactly those strengths I found in this film. That it was not full of artificially cooked-up "atmosphere" from Steiner (whom I do truly respect and enjoy elsewhere), that it was not full of quick cuts and microscopic closeups was something I found wonderful. That it was confined essentially to a very few sets was also wonderful. Those sets were very detailed and not skimpy at all. This was a filmed play! That some should state that as a negative is beyond me. There are so many films (even in this film's release era of 1947) available to so many people in so many areas, but how many of us have been lucky enough to experience a great playwright's work, brought to life by great acting and delivery? Far far fewer folks, in far far fewer venues, and far far fewer locations. This then is what I mean when I say that this film was one example of something Film can offer and so rarely does. The opportunity to experience a play!

And what a wonderful experience it was. The acting was terrific. After more than one scene between Christina and Lavinia, I fairly exclaimed with pleasure at the dramatic interplay between the two. What some called disdainfully "overacting", I found thrilling and stimulating. After all, one is not watching a home movie of one's family or friends. So called "realism" in many modern films is in my mind vastly overrated. A work of film, or of the stage, should be "realistic" it is true, but should not ever be so real as to distract from the art itself.

Tastes change and film-making is an industry to make money like other manufacturing methods. But part of the admiration for what is often called the "Golden Age of Hollywood" is attributable to the then less uncommon understanding that "Art" was as valid the goal as earning a profit! At least by the people involved in the acting and production, if not by the investors themselves. Sure there are occasionally great films made today, and there were plenty of "B" pictures made then too, but to critically dismiss this film for not being something other than what it was, is to miss the point I feel.

Rosiland Russell Rules! JACK in Maine