A piece of the cultural context for women's issues - Iphigenia: Women as accesories to nationalism
Iphigenia - directed by Mihalis Kakogiannis - 1977 - based on Euripedes' tragedy, "Iphigenia in Aulis."
http://www.imdb.com/title/tt0076208/?ref_=sr_1
Because of the way that Rome conquered Greece, and a bunch of the rest of that part of the world, and then spread northward into Europe bringing "Western Civilization" by the sword, we count ourselves today, at least in part, as their cultural successors and, therefore, also the inheritors of some aspects of Greek culture which the Romans adopted. Euripedes holds high artistic merit in that heritage. That's why I watched this (subtitled) Greek produced, directed, and acted movie about a time right before the assembled armies of Greece set off for their war on Troy, under the leadership of brother kings Agamemnon and Menalaus, to avenge the "kidnapping" of Menelaus' wife, the (in)famous Helen of Troy, and, of course, to sack that city for its treasures and, thus, to pay the Greek army.
This is not a Hollywoodized version of the story. It looks much more like something that is like a historical re-enactment, intended to have as much authenticity as possible in the characters, the dialogue, the politics, setting, clothing and accoutrements of that time and place and Irene Pappas, as Agamemnon's wife and mother of the ill- or gloriously- fated (depending upon your point of view) Iphigenia, is a feast for not only for women's eyes and ears, but also for posing this whole tragic story on the edge of a knife that not only gave her her own place in the world, by way of another kidnapping, btw, but also put her daughter, on her sham or authentic (once again depending upon your point of view) wedding day to the pure and virginal Achilles, under that same knife for the will of the gods and in exchange for glory of the Greek army.
One theme I think the director transplanted subtly but well from Euripides is, of course, the Greek hero and, in this case, heroine and all that entails about the glory of certain kinds of death. I don't have everything I think about this sorted out yet, but I'm sure you will recognize some familiar themes: women as property; nationalism; women, relative to high male status, honored and yet absolutely and utterly vulnerable; the nobility of motherhood; and some minimalistic yet highly detailed family relationships, including Iphigenia to her little brother, Orestes, who loves her deeply and is witness to all but the sacrifice itself.
I'm struggling with the ending which is kind of a surprise in that Euripides apparently made it rather more positive than one would expect from the horror story that precedes it, though I suppose that is a cultural artifact and the whole piece is definitely more complicated than just the ending and yet the whole thing really does stick together too. It's odious, but coherent.
I hope you'll watch this movie, you'll love Irene Pappas, and maybe post any of your thoughts. It's bothering me, because, other than Achilles and Orestes who have more minor roles, the women are the only real heroes in the lot and yet their heroism is FOR and as accessories to what is going on amongst the men, or does Iphigenia's choice near the end change that? . . . or not? I know I'm not supposed to, but I think not.
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