Phaedra 1962(in Hollywood Movies) Phaedra 1962 (1962) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Phaedra 1962 on your mobile, tablets and ipads
Plot: The powerful Greek shipowner and constructor Thanos proposes to marry Phaedra during the baptism of a ship with her name. Phaedra, who is the daughter of Thanos'greatest competitor, is a ... Runtime: 115 mins Release Date: 10 Sep 1962
"Now that Melina's a star from 'Never on Sunday,' let's update that ancient Greek play by Euripides, already updated by Racine, make them Greek shipping magnate families, and get that 'Psycho' guy -- Perkins -- as her stepson / lover." Hollywood NEVER thought like that. Nobody else did either, except Jules Dassin, to whom filmgoers owe eternal gratitude for "Phaedra." Dassin's story with Margarita Lymberaki and script are tight as a drum, so emotionally potent that the roles are perhaps playable by hand puppets.His casting is breathtaking. <more>
Melina Mercouri is the obvious choice for Phaedra, coming off her adorable star-making turn at 40 in "Never on Sunday" two years earlier and not to mention her growing personal relationship with Dassin, whom she was to marry . Her Phaedra is everything her waterfront hooker is not: rich, controlled, sophisticated, trapped in a marriage of wealth and convenience.Raf Vallone as her powerful husband may also seem obvious casting: his Mediterranean virility is the masculine equivalent of Mercouri's Greek goddess passion and presence.But Anthony Perkins as her stepson, Alexis? Hardly the obvious choice, yet perfect nonetheless. He even looks like he might be Greek. In those days early '60s he was a handsomely sensitive and intense "young" man not to mention a brilliant actor: his playing against type made "Psycho" that much more shocking: try imagining anybody else in that role. Hitchcock knew what he was doing with Perkins too. . Yet his previous filmic forays as a romantic leading man opposite, say, Jane Fonda in "Tall Story" felt curiously flat and false. Today we know that was because the actor himself was tormented and conflicted by being gay, eventually marrying and having children, yet still dying from AIDS because of his secret life. That secretive, hidden, conflicted sexual intensity worked perfectly in "Psycho" and it does in "Phaedra" where, for the first and only role in Perkins' screen history, his full sexuality gets its chance to explode.The careful script construction builds tensions slowly, on every level. The competition between Greek shipping tycoons seems realistic and involving. So does Raf Vallone's urgency to bring his "art student" son back to Greece from Europe to help run the family empire. He hasn't time to go himself, and sends his wife, Melina Mercouri, to convince her stepson to return.From their initial meeting, the sexual tension between Mercouri perhaps the most complex portrayer of feminine passion in the history of film, including Anna Magnanni and Sophia Loren and Anthony Perkins perhaps the most intensely complex and sexually ambiguous male American star since Montgomery Clift is electric.They seem to be doing little, if anything, in their initial scenes, in the museum, for instance. She's trying to seduce him into returning home. He's resisting. Two actors have never played subtext better.By the time their repressed passions overcome them, in front of that fireplace, and they begin to undress each other and make love to Mikis Theodorakis' pounding score and Jacques Natteau's lyrical cinematography, Dassin has achieved what many still consider to be the single most erotic scene ever filmed.That he did it with two of the seemingly most improbably-matched actors, and without any real nudity no pubic hair, no nipples other than Perkins' visible . . . just with looks and kisses and caresses like none ever captured on film before or since . . . is no small tribute to his director's genius.That scene shocked audiences and left them sexually limp and satiated in the '60s. It no longer shocks. It's simply beautiful and fulfilling and haunting -- as it must be, for the moment seals all the characters' fates.From that passionate consummation, in fact, "Phaedra's" grip tightens and pulls us into darker depths than we ever anticipated.Love -- this love -- is a kind of fatal madness from which there is no escape.Phaedra is not Ilya the hooker from "Never on Sunday." Alexis is not Norman Bates from "Psycho." It is difficult to recall a more vivid demonstration of on screen acting versatility by two stars in two years, ever.Phaedra's and Alexis' descent into tragedy is truly painful. Perkins' playing of his final suicidal "mad" scene is unlike any other scene he ever played. It is tempting, knowing what we know today of Perkins the actor, to believe we're witnessing an eruption of his own internal passions besting him and leading him to his death. That's a false temptation. Perkins had no more knowledge of when and how he would die than any of us do. He was, simply, brilliantly, fully in character and as an actor so trusting in his director that he took chances he never had before nor ever would again.That Perkins' "mad" scene occasionally elicits discomfort is testimony to his gifts. It is not, in fact, "over the top." As anyone knows who's ever seen anybody go "mad," it is utterly real. So real, so impassioned, so demented and hopeless and brilliantly conceived: driving himself to his death in a luxury sports car while singing along with / shouting at Bach??? that some viewers use any defense, including ridicule, to remind themselves that "this is only a movie." Dassin beautifully orchestrates Perkins' arc from neurotic "artist" to passionate, even insane, lover . . . and contrasts it with Mercouri's descent from emotional Greek goddess to almost mutely resigned walking death mask. Both arcs, and both actors, are equally devastating.Over four decades after its production, there has never been a film like "Phaedra." In a hundred years, there still won't be.
There are few films that one remembers like the nostalgia of a lost love. Phaedra has this effect on me. I saw it at a "foreign" film festival at Metropolitan State College in Denver Colorado when I was 20 years old in l965. Perkins will always bring to mind the "angst" ridden, melancholy young man, a role he truly "lives" in this brilliantly updated Greek tradegy. Melina M was never more alluring and exotic. When you combine the chemistry of these two unusual actors with the ancient fear of incest and deceit that Phaedra represents you get stunning performances <more>
from the two leads. I also was mesmerized by the haunting and seductive soundtrack from this film. The best description for it is "greek jazz",although that certainly doesn't describe it well. I bought the vinyl 33 in a used record shop in 1989 and copied it to tape. It travels with me in my car and is played quite frequently. Is there any hope of this film ever becoming available to vhs? Who knows. All I know is that the "fireplace" seduction scene has few equals in any other contemporary film for raw sensualism and erotic power.
The ultimate movie - Now is back in theaters!!! (by stavroulakis)
I think that you would like to know that Village Roadshow released again Phaedra and plays it in their multiplex cinemas in Greece, during the Athens 2004 Olympic Games. I saw the picture - yes I am so lucky - and the picture and sound quality is fantastic. To my opinion, this is the ultimate movie ever. Perkins and Melina are fantastic. Responding to previous comments: Yes Zyl Dassen is still alive and lives in Athens, Greece. Unfortunately Melina Merkouri died years ago, suffering from cancer. For many years Melina was honoured in Greece as the Minister of Culture in the Governments. Zyl <more>
now continues her dream of building the Acropolis Museum in Athens and bringing back the Parthenon Marbles from the British Museum to where they belong, back in Athens.
An excellent underestimated film of the 60's (by marantosvassilis)
The truth is that the film has nothing to do with the classic tragedy of Eurypides, but it is own of the most romantic and tragic films of the 60's. It has own of the most erotic love scenes I ever seen, and one of the best musical score that I ever heard. Melina is more beautiful than ever, Anthony Perkins is excellent as the fragile stepson who is seduced by his father's wife M.Mercouri. Valone is superb as the Greek Tycoon. Someone must release again the VHS and the DVD and the CD, because it is a good movie, and it did not deserve the bad criticisms that it received when it was <more>
Powerful classic made perfectly modern, almost poetic in its quick, tight action. (by tbright1)
Just as the film Forrest Gump was a finer story than the somewhat unpleasant original novel, Jules Dassin's Phaedra far outdoes Jean Racine's 1677 play, which was in turn based on Euripides's Hippolytus.Familiar as we are with the world's new royalty the fabulously wealthy it makes perfect sense to set a Greek classic in the family of a Greek billionaire shipping tycoon think Aristotle Onassis / Stavros Niarchos , and to involve other European settings, an expensive and elegant automobile Aston Martin DB4GT, I believe: "0-100-0 in 21.8 seconds" , and a son and <more>
stepmother who are educated, move easily among commoners and the powerful, and are thoroughly likeable.Following one of the most erotic scenes in film although, delightfully, not at all explicit; the telephone scene in It's A Wonderful Life is also in the running , it is difficult not to feel the depth of loss as the family, indeed the entire empire, unravels.Unforgettable, but only to those who have seen it. Are there no prints available? Isn't director Jules Dassin still alive? Isn't it about time for a DVD of this fine, intense film? If you were comfortable with Sean Connery's James Bond in Dr. No, but would have been even happier had it been edgier, less cartoonish, and in crisp, almost 3-dimensional black and white, you have been missing this movie.
Is #4 in my list of top five favorite films (by georgecmclemore)
I saw this movie at the tender age of 19 as a down and out college drop out in Los Angeles, in 1962. Given the repressed social environment of my early youth-the deep South-this movie opened up a whole range of insights and expectations of interpersonal and physical attractions within the context of taboo, forbidden relationships. The movie is shot through with the crackle of intellectual and erotic tensions and has, in my view, the single most sensuous scene ever filmed, and there are several from which to select. The musical soundtrack has few peers in film history. A highly under-rated <more>
film at the time, and it should be resurrected for contemporary audiences.
Anthony Perkins has two loves -- Melina Mercouri and an Aston-Martin DB4 -- and it's hard to tell which is more spectacularly hard, fast and beautiful. I've never been a fan of Mercouri, with her mask-like face and disembodied guttural voice, but she's ideally cast as the heroine of this modern dress Greek tragedy, and she moves through the starkly gorgeous Hydra landscape like a queen. Story, setting, costumes and photography have never done an actress more favors; inhuman as she is, you can't look away. When she snarls "I don't care if the whole world burns!" <more>
you not only believe it, you want to watch it with her. Dassin's direction is very assured throughout, for example staging a technically difficult scene on the Aegean where Raf Vallone's helicopter circles over Mercouri on their yacht and he drops flowers on her, and in such a way that we register only the outsized emotions. Two other standout moments have been noted extensively in the other comments: the stunningly filmed love scene by the fire and Perkins' final ride in the Aston-Martin, in which he dares and brings off the most wildly over-the-top scene of his career. True, he doesn't seem man enough for Mercouri, especially next to Vallone, but that's part of what makes it a tragedy.
strong adaptation of a classical Greek tragedy (by myriamlenys)
Impressive work that updates the classical tragedy by transferring it to a modern-day Greece of celebrities and tycoons. Onassis family, anyone ? The transposition is intelligent and works very well. Melina Mercouri as Phaedra - beautiful, enigmatic, capricious, doomed - is the undisputed star of the movie, which is as it should be. Her death, near the end of the movie, is a potent and memorable scene. I was less impressed by the performance given by Anthony Perkins, although I need to add that I may be prejudiced : I do not like to watch him act, for reasons that may be irrational. <more>
Strongly recommended to lovers of all things Greek and/or classical.
A Solid Representation of the Classic Story (by atlasmb)
Tony Perkins has that young look that made him seem unfit for some more mature roles or those that sought to portray him as an icon of virility. In "Phaedra", that youthful look--and the chiseled perfection of a Greek sculpture--makes him rather suitable for this role as the innocent lover of his father's second wife, played by Melina Mercouri.The story is played with a necessary fatalism, full of dramatic pauses and unavoidable attraction. There is no free will here, as the characters are compelled to play their parts in this tragedy, condemned to suffer the consequences <more>
ascribed by the gods and the rules of men.As such, this film may be seen to present the two primary characters as little more than puppets, walking the path that destiny requires. Or was there a moment, however brief, when they embraced their destinies with open arms, knowledgeable of the consequences? Did they really have a choice, given their basic natures? This classic story asks these questions and, in this, the film is true. The photographic style, including the editing, makes the two feel like chess pieces occupying space, being moved by an unseen hand or some force of magnetism, drawn together inescapably. In the end, Phaedra accepts the will of the "gods", while Perkins' Alexis--like Dionysus or Icarus--struggles till the end, proclaiming his illusory freedom from the Fates.