Mourning Becomes Electra Page #12

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
230 Views


guilty conscience?

How can you love that vile woman so?

When you know all she wanted

was to leave you without a thought

and marry that...

Yes! Exactly as you were planning

to leave me now and marry Peter.

I bet you'll stop your tricks

when you know what I've been writing.

What have you written?

That frightens you, does it?

I've got to know.

Well, I suppose I might as well tell you.

At his earnest solicitation,

as the last male Mannon -

thank heaven for that, eh! -

I've been writing the history

of our family.

What kind of history?

The true history of the family crimes.

Beginning with grandfather Abe,

all of the crimes including ours.

I've tried to trace to its secret

hiding place

the evil destiny behind our lives.

If I can find it clearly in our past,

I may be able to foretell

what fate is in store for us, Vinnie.

But I haven't dared predict that.

Not yet.

But I can guess.

Orin.

I found you the most interesting

criminal of us all.

How can you say such

dreadful things?

You know that behind all that pretense

about Mother's murder

being an act of justice was your

jealous hatred.

You wanted Brant for yourself.

That's a lie! I hated him.

After you found out he loved Mother,

yes.

But we'll let that pass

and come to what I've written

about your adventures on our lost islands.

Or should I say...

Adam Brant's islands.

Stop it! I warn you.

I won't bear it much longer.

Oh, what a paradise

the islands were for you, eh?

All those handsome men staring at you.

With your strange beautiful hair.

That was when you finally

became pretty.

Like Mother.

You knew that they all desired you,

didn't you?

They filled you with pride.

Especially Avahanni.

And you wanted him.

No!

Don't lie.

What did you do when you stepped away

with him that night when I was sick?

I kissed him good night, that's all.

In gratitude.

So you kissed him.

And that's all.

And what if it wasn't?

You vile, common...

I'll kill you and...

No, but you're lying, aren't you?

Tell me you're lying, Vinnie.

Yes, yes, it was a lie.

How could you believe I...

Oh, Orin.

Something made me tell you that

against my will.

Something rose up in me

like an evil spirit.

Ghosts.

You never seemed so much like Mother

as you did just then.

Oh, no, don't talk about it.

Let's forget it ever happened.

Forgive me.

Please forget it, Orin.

All right.

If the ghosts will let us forget.

I believe you about Avahanni.

But you were guilty in your mind

just the same.

Stop torturing me.

I've warned you. I warn you again.

I can't bear it much more.

I won't.

Then why don't you murder me?

I'd help you plan it just as we

planned Brant's

so there'd be no suspicion on you.

I loathe my life.

Orin!

Don't you see?

I'm now in Father's place.

You are Mother.

That's the evil destiny out of the past

that I hadn't dared predict.

I'm the Mannon you're chained to.

Won't you be quiet, for heaven's sake!

Take care, Orin.

You'll be responsible if...

If what?

If I should die mysteriously

of heart failure?

Leave me alone.

How can you be so horrible?

Don't you know I'm your sister

who loves you?

Who'd give her life to bring you

peace?

I don't believe you.

I know you're plotting something.

But I warn you. I won't stand

your leaving me for Peter.

And if I should die...

Oh, stop having such thoughts.

You're like a devil towards me.

I won't listen.

I won't.

Don't cry.

The damned don't cry.

Go away.

I want to be alone.

Finish my work.

Oh, why does he keep putting

his death in my head?

He'd be better off if he were dead.

Why hasn't he the courage to...

Don't let me have such thoughts.

You know I love Orin.

Show me the way to save him.

Please, please.

Vinnie! Oh, Vinnie!

Oh, Vinnie.

Yes?

That darned idiot of a cook

is throwing fits again.

Went down the cellar and said

she felt ghosts creeping behind her.

You better come and get her

calmed down

or she'll be leavin'.

I'll talk to her.

See who it is, Seth.

Ayeh.

Hazel, Peter.

Hello, Seth.

Is Vinnie here?

Ayeh.

You can just wait in the settin' room.

You set down and I'll tell her

you're here.

She'll come as soon as she kin.

I'll just say hello to Vinnie

then run along to the Council meeting.

I hate this house now.

Oh, sit down.

I hate coming here.

If it wasn't for Orin, I...

Why does Vinnie keep him

shut up here?

Oh, so that's what you've got

against her, huh?

Don't be silly.

I simply think and I'd say it to her face

that she's a bad influence for Orin.

He scares me at times.

And Vinnie...

I've watched her looking at you.

There's something bold about her.

Look, if you're going to talk

like that...

You ought to be ashamed, Hazel.

Well, I'm not.

And I'm going to make her let him

visit us.

Well, I think it's a darned good notion.

She needs a rest from him, too.

Vinnie doesn't think it's a good notion.

But I'm going to make Orin promise to...

to come over tomorrow

no matter what she says.

Don't get angry now over nothing.

I'll help you get your way with Vinnie.

Gosh, I'll do anything to help you

get Orin well.

As long as Vinnie's tied down to him

we can't get married.

Do you really want to marry her now?

Why do you ask such a fool question?

I don't know, Peter.

What in the dickens

is the matter with you, Hazel?

Here, what are you crying for?

Hello, Orin.

Where's Vinnie?

Seth went to call her.

I've got to talk to Hazel alone.

All right.

You don't have to put me out.

Tell Vinnie I had to go along,

but I'll come straight back.

I won't be long.

Listen, Hazel...

I want you to do something.

Take this.

Don't let her see it.

I want you to put it in a safe place

and never let anyone know you have it.

What is it, Orin?

You mustn't ask me.

And you must promise

never to open it

unless something happens to me.

What do you mean?

I mean, if I should die.

Orin.

Or, if she tries to marry Peter,

the day before the wedding

I want you to make Peter read

what's inside it.

You don't want her to marry Peter?

No.

She can't have happiness.

She's got to be punished.

And...

Hazel, you mustn't love me any more.

No! The only love I can know now

is the love of guilt for guilt.

Which breeds more guilt.

Until you get so deep in the bottom

of hell that...

there's no lower you can sink.

And you rest there in peace.

Orin, don't talk like that.

I know something's worrying you.

I've had such a strong feeling that...

it would relieve your mind

if you could tell me what it is.

Yes...

Yes, I want to be forgiven.

I want to confess.

No, I can't. Don't ask me.

Orin, Vinnie told Peter herself

what it is.

What did she tell?

About how you quarreled with

your poor mother the night before she...

and how you've brooded over it until...

you blame yourself for her death.

I see... So in case I did tell you...

Oh, she's cunning.

But not cunning enough this time.

Remember what I gave you

and do exactly what I said with it.

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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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