A waste of 90 minutes of my life

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

A clunky actioner with a handful of cool moments.

each time when I see it, I discover "Electra" as revelation. for the great cinematography, for beautiful performances, for the admirable translation of the play of Euripides in precise portrait of feelings, guilty, desire, the huge sin. all is the part from a lost world. the traces of words, the clash between white and black, the group of women, the landscapes, the knowledge of viewer who is only a piece of clay for Cacoyannis. Irene Papas as the only Electra , like in manner in which, in "Iphigenia", she is the unique Clitemnestra. Giannis Feris as the Orestes who preserves in his presence entire spirit of old Greek statuary art. and, for a long time in the case of me, the axis of film, Aleka Katselli, remembering the memories about Micene and the Troyan war from the history lessons.a film who remains a revelation. about the deep essence of humankind.

I accidentally came across this film while looking through used DVDs at a local store. Having a passing interest in Greek myth, I bought it sight unseen. Far, far better than recent American and British attempts to retell (read remake) these great stories, this marvelous film stays fairly close to the original, telling a tale of betrayal and revenge. I've always loved the story of Orestes: damned if he doesn't avenge his father's murder, damned if he kills the chief assassin-his own mother. Elektra's story is woeful as well-driven by her own desire for vengeance, a vengeance she believes will never come, only seeing her own doom and the triumph of her father's murderers.Wonderfully acted by Irene Pappas. I'm recommending it to all my friends.

I have just seen this film again via DVD after first seeing it in a cinema 40 years ago, and it remains in my view a staggering masterpiece of world cinema. It is a film that should be compulsory viewing by all aspiring film-makers since it is, unlike so many of today's movies which really are over influenced by television, so cinematic it makes one positively nostalgic for concepts like film grammar and form. Cunningly, it is almost a silent movie with a wonderful soundtrack, and the acting, (outstanding by all concerned), shows the great value of body language, and how good film editing, the use of a superb musical score, and excellent black and white cinematography can convey such powerful and poignant emotions. The play on which it is based has of course the soundest of psychological under-pinnings; guilt is an emotion and state of mind that can ONLY be experienced once one has done something horrendous enough to make it possess you. It cannot be imagined or anticipated, and, even when "rational" thought seems to justify the act, as Elektra and Orestes find to their cost, this evaporates instantly once that rage has been quenched. The final sequence of this film, after the mother has been murdered, and when these realisations manifest themselves is so overwhelming and powerful that only the hardest of heart could not be profoundly moved. But, like all good psycho-therapy, it is ultimately sanctifying, even if at the same time it is heart-breaking and almost unbearably poignant. Certainly one of the best films I have ever seen in my life, and every department deserves the highest praise and congratulations. One of the very few films to which I have awarded a 10/10 vote.

An extraordinary film from a visual and dramatic standpoint, _Elektra_ unfortunately too often plays like a _Cliff's Notes_ version of Euripedes' work (although, in all fairness, I must note that the film is only "based on" the classical play). The essential structure is there: Agamemnon's murder, the banishment of Orestes, Elektra's marriage, the reuniting of the grown children, the double murder. But by clipping away much of the Euripedean dialogue, much depth of characterization is lost. The principles become one-dimensional, with only hints of the complexity which makes the story so overwhelming. However, the stark cinematography and fine acting make this film eminently watchable, particularly at the climatic matricide sequence.