Review of Mourning Becomes Electra

This is a photographed play, and the staginess is especially noticeable during the exposition. But once the four principals begin to interact, the drama is gripping. I think it was Pauline Kael who said that this family is a very recent gathering given the diversity of accents. Yes. And some diversity of acting styles. Raymond Massey, as always, plays Raymond Massey but does so here with extraordinary passion. And passion is hardly the word for the vigorous performance of Katina Paxinou who won the Oscar (cr)as Pilar in FOR WHOM THE BELL TOLLS and would star later for Rossellini and Visconti. Michael Redgrave, whom we would later recognize as one of the fine actors of our time, is somewhat thin emotionally here but gains strength as O'Neill plods on and is probably giving as much as could be expected in a Hollywood film of this era. Rosalind Russell, who won the Golden Globe for her performance and was publicized as the Oscar (cr) favorite, gives a three hour performance consisting of one facial expression, one ramrod posture and one tone of voice. (Is the story apocryphal that when from the stage came the words, "And the winner is..." Russell had risen from her seat and stepped into the aisle when Loretta Young's name was called?) -- It is always interesting to see later stars when, in their early days, before typing, they were still trying to act. Kirk Douglas, minus gritting teeth, is good in his small role.