Phaedra (1962)

33% of users liked it
(88 ratings)

Inspired by Euripedes' tragedy Hippolytus and set in modern times, this allegorical tale centers on the love triangle between a fabulously wealthy Greek shipping magnate, his lonely second wife, and his first-born son. The affair between the wife and her stepson begins soon after she arrives in… More Inspired by Euripedes' tragedy Hippolytus and set in modern times, this allegorical tale centers on the love triangle between a fabulously wealthy Greek shipping magnate, his lonely second wife, and his first-born son. The affair between the wife and her stepson begins soon after she arrives in London to bring him back to Greece so her husband can teach him about shipping and he can marry another tycoon's daughter to cement a new alliance. Though the son quickly falls in love with his beautiful stepmother, he cannot overcome his crushing guilt at having betrayed his father. When the wife learns of her husband's planned betrothal of his son, she becomes enraged and confesses her affair. Great tragedy follows as her husband beats his son senseless while verbally battering the wife. ~ Sandra Brennan, Rovi

Rating, Runtime: Unrated, 1 hr. 55 min.
Directed By: Jules Dassin
Genres: Drama

In Theaters: Jan 1, 1962 Wide
Studio: Lopert Pictures Corporation

Critic Reviews

Phil Hall, Film Threat
Unlike wine, bad films do not get better with age.
Dennis Schwartz, Ozus' World Movie Reviews
I found it entertaining as a bad film, one that detracts from the Greek tragedy with ludicrous offerings of sex.
Cole Smithey, ColeSmithey.com
"Phaedra" straddles a line between ancient and modern sensibilities. It is an undervalued and underseen example of mythology adapted to cinema.

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Featured Audience Ratings

Stefanie C

Contrary to popular opinion, I really liked this movie. I thought that Mercouri and Perkins roles were well acted. The music was perfectly suited to the mood of the film. Some of the shots and montage were memorably unique: the melding of water and fire during the love scene, the… More
Contrary to popular opinion, I really liked this movie. I thought that Mercouri and Perkins roles were well acted. The music was perfectly suited to the mood of the film. Some of the shots and montage were memorably unique: the melding of water and fire during the love scene, the final sequence, etc.
AJ V

I liked Perkins in this movie, but the rest of the cast isn't as good. The story is interesting too, and the ending is good, but I would have ended it differently. Overall a good movie.
George M

An oddity of a film, unknown and underupreciated. It is it uneven and can be easily misunderstood as simple melodramatic pomp. However that is a judgment that looses all the subtle details of the reworking of the myth. This film must be seen with keeping in mind the myth; and when… More
An oddity of a film, unknown and underupreciated. It is it uneven and can be easily misunderstood as simple melodramatic pomp. However that is a judgment that looses all the subtle details of the reworking of the myth. This film must be seen with keeping in mind the myth; and when seen like that, the feeling of 'melodrama' gives way to the power of archetypical emotions. Perkins excells with his frailty, Valone is very good in his somewhat straightforward role, and Melina Merkouri is uneven. Her acting is crude and her bad accent doesn't help (this can be forgiven, given that she plays a Greek), but she also has some truly sublime moments, especially when she has to express emotion silently. Her acting was always a bit rough around the edges but her raw energy sometimes, when not used as a simple pose of 'Greek temperament', makes her shine by her depth of emotion. The excellent soundtrack by Mikis Theodorakis has a great impact on the overall film. The main theme is magnificent and brings forth the element of the unavoidable end of love. I felt that the script could be better in characterizing the Perkins character and his exact motivations in the last part of the film. The direction of Dassin covers some problems of the script nicely with fluid camera movements and quite experimental rhythmic units at certain points, such as the odd love scene which can be seen as either indulgingly 'poetic' or as truly powerful (I think it is the latter; a very succesful scene which is bound to feel a bit strange due to its experimental nature). Overall it is not one of Jules Dassin's best, but it deserves to be seen and appreciated for its, quite a few moments of greatness, intensity and beauty. But apart from these moments, as a whole, it fails to give a deep interpretation of the myth.