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Antigone (1961)

Antigoni (original title)
Not Rated | | Drama | 22 January 1962 (Greece)
Antigone defies her uncle's decree that her traitorous brother should go unburied and therefore find no rest in the afterlife; however, her actions have tragic consequences.

Director:

Yorgos Tzavellas (as George Tzavellas)

Writers:

Sophocles (play), Yorgos Tzavellas (screenplay) (as George Tzavellas)
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Cast

Cast overview, first billed only:
Irene Papas ... Antigone
Manos Katrakis ... Creon
Maro Kodou Maro Kodou ... Ismene
Nikos Kazis Nikos Kazis ... Haemon
Ilia Livykou ... Eurydice
Giannis Argyris ... A Sentry
Byron Pallis ... A Messenger
Tzavalas Karousos ... Tieresias
Thodoros Moridis ... First Elder of Thebes
Giorgos Vlahopoulos Giorgos Vlahopoulos ... Elder of Thebes
Yorgos Karetas Yorgos Karetas ... Elder of Thebes
Thanasis Kefalopoulos Thanasis Kefalopoulos ... Elder of Thebes
H. Bourgatzas H. Bourgatzas ... Elder of Thebes
I. Garifalidis I. Garifalidis ... Elder of Thebes
A. Kakoulidis A. Kakoulidis ... Elder of Thebes
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Storyline

In the Ancient Greek city of Thebes, King Oedipus killed his father and married his mother Jocasta, having two sons - Eteocles and Polynieces - and two daughters - Ismene and Antigone. King Oedipus died a beggar in the exile after gouging out his own eyes, and Eteocles agreed to reign in Thebes in alternating years with Polynieces. However, Eteocles refuses to resign after the first year and Polynieces is exiled. Polynieces raises an army and attacks Thebes, and the two brothers kill each other. Crean, the new ruler of Thebes Creon decrees that Eteocles should have an honorable burial while the body of the traitor Polynieces should be left on the battlefield to be eaten by jackals and vultures. However, Antigone, who was betrothed to Creon's surviving son Haemon, defies Creon's orders and buries her brother. When Creon is reported of the attitude of Antigone, he sentences her to be sealed in a tomb alive. Antigone hangs herself in the tomb and Haemon tries to kill his father first and... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Greece

Language:

Greek

Release Date:

22 January 1962 (Greece) See more »

Also Known As:

Rites for the Dead See more »

Filming Locations:

Alfa Studios, Athens, Greece

Company Credits

Production Co:

Norma Film Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The movie was screened during 1961-1962 and sold 43,705 tickets. It came 12th out of 68 movies. See more »

Connections

Version of Time Lost and Time Remembered (1966) See more »

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User Reviews

Moral and Ethical Grounds Shaping Characters in Antigone
15 May 2013 | by burnum-686-537338See all my reviews

Moral claims do not give rise to philosophical grounds. Yet, In Antigone it is clear that moral actions prompt philosophical questions, and inherently make good drama.

This review acts as a strict focus on how moral and ethical points are made throughout the film, and how they act as catalysts to progress the story and keep the viewer involved. Be it known that I have not read the Sopheclean text of Antigone, and fully derive all of my comments and criticisms solely within the boundaries of the film.

The character flaws present in the film mostly derive from wayward and distorted adherences to moral ideologies. For example, Antigone's ethical and moral backbone throughout the film is guided by powerful intangibles like love and loneliness, which makes her rash and at times misguided. Creon's moral code is also in knots as he acts as a Euthyphro in the fact that he is conflicted and contradictory to many of his beliefs that shape him, i.e. his aforementioned moral code.

Values undoubtedly shaped the society of Ancient Greece. Loyalty was a cornerstone value in this society, yet loyalty drifts and fades as tides turn in Antigone. For example, as Creon is crowned King of Thebes he is shown immediate support as the new benevolent King, yet mourning for Oedipus, or any mention of him whatsoever is non existent. Is this a loyal Thebes? Though support of Creon was warranted by his grace, the remembrances of a fallen king laid flat.

As Creon sits on his thrown surrounded by his court he states, "The country's foe is always mine." Little did Creon know that he was the biggest threat to his country, and thus his own foe. Because of the nature of Greek Tragedies and the intuition of most people, the common viewer could understand this at first glimpse. It was clear that Creon's hubris and pride would be his downfall.

Antigone, acting as the protagonist in the film, is the embodiment of good. Yet, contradictions within her moral ideology leads to questioning what "good" actually is. Is her entire moral and ethical embodiment good? Is it her choices of which moral standpoints to act upon that are what is good? Or is it her actions that are good? Simply put, Antigone is a walking paradox. It is impossible to know what is good. Acting against Zeus due to her undying love and care for her brother, or burying her brother because it is just in the Gods' eyes to do so. Both are contradictory and both can be good.

It is clear that both the protagonist and antagonist have inner conflicts. Their inner ideologies contradict. What makes one a "protagonist" and another an "antagonist" lies in the fact that the shared ideologies between them also conflict. Inner contradictions within an individual which conflict with another individuals already clashing ideologies makes it impossible to know who is right and who is wrong. Both characters were acting upon the same ethical grounds. They acted to safeguard human law, religious law, and family values. Is it then that moral grounds are shaped by convenience and circumstance? Does one's moral backbone fit the skeleton of a different distortion of themselves? Is moral rectitude a variable of space and time? Is it the contradictions of moral standpoints that are convenient because they can be malleable to fit any form? These are the questions that I believe the film poses.

The film does a fantastic job at examining exactly what grants a legitimate moral claim or action, which most people are curious about. Reason is man's most precious gift, and by the will of nature, the tone of his reasoning is determined by his moral code.


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