Mourning Becomes Electra Page #2

Synopsis: Eugene O'Neill's updated version of the Orestaia. In New England, after the American Civil War, a war-weary Agamem--er, Ezra Mannon comes home to his unhappy wife (Christine) and loving daughter (Lavinia). But Lavinia's ex-suitor, Adam Brant, has become Christine's lover, and together Adam and Christine plot to poison Ezra. When they succeed, Lavinia turns to her brother Orin to help bring the lovers to justice, but when they succeed, Orin goes mad and his suicide note may come between Lavinia and her new suitor, Peter Niles.
Genre: Drama
Director(s): Dudley Nichols
  Nominated for 2 Oscars. Another 2 wins.
 
IMDB:
6.5
APPROVED
Year:
1947
121 min
226 Views


Peter, haven't you seen enough

of Lavinia?

I haven't seen her in ages.

Look at him. He's getting jealous

afraid he's got a rival.

She isn't sick, is she?

Just a headache.

I think you're what she needs.

Someone to make a fuss over her.

What did I tell you?

You'll find her in the house.

Run along, little boy.

You know you're dying to see her.

Of course I am. Excuse me.

Any more news from Orin?

Not since the letter I showed you,

my dear.

You don't think he's been wounded,

do you, Mrs Mannon?

Of course not. He's with his father.

We'd have heard right away.

Oh, there, there, my dear.

Vinnie.

I've been looking all over for you.

How are you, Peter?

Fine. My wound's all heeled...

and I've got orders to leave tomorrow.

They'll be cancelled now, I guess.

Has the news been confirmed yet?

Not yet.

You'll hear the fort firing and the salute

when it's official.

I won't pretend I'm the sort of hero

who wants to go back.

I've had enough.

I guess you'll be glad, too.

To get Orin and your father

home again.

Oh, yes, Father.

Oh, I do hope he comes home soon.

You love him, don't you?

Vinnie, I...

I came here to ask you something.

You told me once to wait

till the war was over.

Well, it looks like the war

is about over now.

I can't marry anyone, Peter.

Father will need me.

He's got your mother.

He needs me more.

I'm sorry, Peter.

I can't explain...

You know how much I do

care for you.

Why, you and Hazel and Orin and I

we grew up together.

Don't change that, Peter.

Of course I won't, Vinnie.

You'll change your mind.

Unless you love someone else.

How about this mysterious clipper Captain

who's been calling on you?

Do you think I care anything

about that...

I only meant folks say he's courting

you and...

I hate the sight of him.

I was afraid that...

Well, never mind, I...

Who is he, anyway?

Well, I... don't know very

much about him, really.

Mother met him at Grandfather's

in New York.

He did tell a lot of stories.

I didn't pay attention.

He went to sea as a boy

and he was in California for the Gold Rush.

He sailed all over the world.

He lived on a South Sea island once.

So he says.

Sounds romantic.

That's his trade.

Being romantic.

Peter...

Did you say anything to Mother

about me?

What didn't he tell me, Vinnie?

He only told me he hadn't seen

you for ages, my dear.

Vinnie's not herself today, Peter.

But don't take it too hard.

It's me she's angry at, not you.

Well, I guess I'd better run along.

Come back tomorrow.

She'll be running to you

if you don't.

Goodbye, Vinnie.

Goodbye, Peter.

Goodbye, Mrs Mannon.

Goodbye, Peter.

Now I know why you've been

avoiding me all day.

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Eugene O'Neill

Eugene Gladstone O'Neill (October 16, 1888 – November 27, 1953) was an American playwright and Nobel laureate in Literature. His poetically titled plays were among the first to introduce into U.S. drama techniques of realism earlier associated with Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg. The drama Long Day's Journey into Night is often numbered on the short list of the finest U.S. plays in the 20th century, alongside Tennessee Williams's A Streetcar Named Desire and Arthur Miller's Death of a Salesman.O'Neill's plays were among the first to include speeches in American English vernacular and involve characters on the fringes of society. They struggle to maintain their hopes and aspirations, but ultimately slide into disillusionment and despair. Of his very few comedies, only one is well-known (Ah, Wilderness!). Nearly all of his other plays involve some degree of tragedy and personal pessimism. more…

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Submitted on August 05, 2018

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