Sadly Over-hyped

Admirable film.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

it is a masterpiece. sure, it is a subjective word and it is not easy to define it. it is a masterpiece because it has the science to give the emotion and spirit and tension of the play Iphigenia in Aulis. it is a masterpiece for the impressive performance of Irene Pappas. it is a great film for its unique, touching and admirable for the right manner to give life to a classic text. and for transform it in a personal story, beautiful and provocative and wise pledge for the discover of the roots of the right answer. a masterpiece. that is it.

There is some great drama, especially in the later part, but this has far too much filler. Especially near the beginning, it is ponderous and boring, with too many long views of the cast of thousands, and long closeups of staring faces. I fast forwarded over many sections which were nothing but people riding or walking or milling around, with no advancement of the story. The film would benefit with a good editing,The acting was generally wooden and unconvincing and reminded me of a poor copy of a De Mille sword & sandal epic. Only Iphegenia herself, later in the film was a convincing, moving performance.

I went into this without realizing it was a sort of prequel to the same director's THE Trojan WOMEN (1971), which I had just watched the previous day! Interestingly, while the latter details the aftermath of the famous (and much-filmed) war, this one deals with the little-known events that came immediately before the Greeks set sail to lay the city of Troy to waste forever! Despite the earlier effort's stellar cast, it is the inferior movie; actually, one actress appears in both, albeit in different (yet equally strong and emotional) parts: Irene Papas played Helen Of Troy in the first picture and Clytaemnestra, i.e. Helen's sister (and sister-in-law!), in the second. For the record, director and star had prior to these collaborated on ELECTRA (1962), yet another tragic chronicle related to The Trojan War: indeed, all originated as a trilogy of plays by Euripedes. Still, only THE Trojan WOMEN was shot in English, ELECTRA and IPHIGENIA being Greek productions through and through – with both finding themselves competing for the Best Foreign Language Film Oscar (the latter against the marvelous swan-song of my favorite auteur i.e. Luis Bunuel's THAT OBSCURE OBJECT OF DESIRE!).Basically, the problem with THE Trojan WOMEN was that it had no real plot (and, therefore, did not exactly make for compulsive viewing despite the familiar and intriguing backdrop!) – it was just a succession of scenes in which various characters reflected back on their lives and how they were affected by the conflict that devastated an entire city: the fact that the latter was borne of lust (for a woman on one part and revenge on the other) gave way to much viciousness even between relatives and particularly amongst the ladies, once regal and proud but now reduced to wearing rags and wailing constantly! Conversely, I recall being impressed with ELECTRA, while IPHIGENIA is very much the essence of Greek tragedy – presenting as it does a narrative that involves deception tinged with irony, honor bound by duty, and bravery in the face of sacrifice.Though, in this case, only Papas' name was known to me (I could not even read the other actors' and technicians' names because they were listed in the traditional Greek font!), all the principal characters were well-served, especially King Agaememnon – fraught with the dilemma of acceding to the will of the Gods (and his battle-hungry men, spurred on by an atypically ruthless Odysseus), which he is expected to placate by having his eldest daughter (the titular figure) killed, an act that would surely throw his domestic situation into turmoil! – and young Iphigenia herself, who grows from carefree girl to hopeful bride (with demi-god Achilles, though no mention of his extraordinary quality is made), goes through disbelief and desperation at what really awaits her, finally to emerge a valiant martyr.The film – which starts off in a potentially off-putting manner, depicting both full-frontal male nudity and the slaughter of animals – displays a strong sense of place and time, an era marked by beliefs and laws that nowadays would, respectively, be deemed remarkably foolish and inordinately harsh. With respect to the latter, Iphigenia implores with the King to tell her why she must die for Helen's faults: if anything, it is the child that sprung from the latter's union with Menelaus, Agaememnon's brother, that should be forfeited. The ultimate twist, then, has the wind starting to blow (which is what the Greeks were praying for in the first place, so as to enable their fleet to finally sail for Troy) just as the heroine is rising the steps towards her sacrificial altar…but fate still decrees that the father does not reach his daughter in time to stop the needless shedding of innocent blood!

I saw this film two years ago in my history class, and have rented it five times since then. Irene Papas leads a strong cast in this adaptation of Euripides' play "Iphigenia at Aulis". The beautiful cinematography adds the perfect tone to Papas' frantic search for clarity in a moral dilemma. Papas displays her great talent as an actress, playing the noble queen, the betrayed wife, and terrified mother. A great film.