Phaedra (1962)

I watched this film last night for the second time in my life. Being someone who grew up in the 60s and 70s, I'm used to - and rather fond of - the films of that time. And I like Dassin. I enjoyed Topkapi and I ADORE Rififi. But I found this film did not age very well. The acting is unnatural and over the top, which turns the film into a melodrama rather than a tragedy.They made a lot of fuss about Mercuri in those days. She was considered to be one of those "not beautiful, but fascinating" women. Maybe she was, but I always thought her a rather alarming female, with her decidedly masculine face, the nearly demented intensity of her eyes, her guttural voice and her strident laugh. Then again, I am a woman myself, so maybe it's just that her 'je ne sais quoi' is lost on me. I would not have chosen Perkins to play Alexis, as I never considered his type to be the sort that ignites an overwhelming passion in a woman's heart. But that might be just my personal taste. I liked the way Dassin did the love scene between Alexis and Phaedra. Truly beautiful and erotic, without all the biology text-book, clinical details they inflict on us these days. And Theodorakis' soundtrack is spot on (he is Greek, after all).All in all, this is the sort of film that I watch more for nostalgic reasons than anything else. But I would not put anything on hold for it.

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

I saw Dassin's "Phaedra" in 1966 in the "Monumental Cine Censa" (long gone...) in Montevideo, Uruguay. I was 20 years old and had gone to watch the movie with my very first love. She was a couple of years younger than me, but her red hair was very similar to Melina's... We both had tears in our eyes as the Bach's Tocatta in F (from Tocatta and Fugue in F BWV 540) played on the screen. It was to be the last movie we watched together. Forty-five years have passed... and I still remember "Phaedra" and the first time I was moved by the carillon-like chords of Bach's Tocatta in F... http://www.youtube.com/watch?v=qqnElZ4wk0U

I was introduced first to the music of Phaedra, thanks to a college love-interest who had the album. He was older than me, and I hung on to every word hoping I'd become the urbane sophisticate I thought him to be. Decades later I laugh at my foolishness, but never regretted getting to know and love the music from that album. I was lucky enough, also, to see the movie when it played at an outdoor theater, of all things, in the college town where we were students. Ah, how wonderful to see those characters on the big screen, and hear the music. I'd give just about anything to have a copy of that soundtrack. And like so many, I don't know why the movie and music are not available!