Jana J. Monji

Greek Films About the Trojan War

Growing up I thought there was this odd casting dynamics between modern Greeks or Italians and Greek or Roman gods. Movies about Ancient Greece seemed Whiter and movies in modern times seemed, for lack of a better word, ethnic. With the controversial casting of Christopher Nolan’s “The Odyssey,” I thought it would be worth looking at how Greeks portray themselves.

Of course, a lot of the controversy is about the casting of Helen of Troy in Christopher Nolan’s “The Odyssey.” People compare the Helen of the upcoming film, Lupita Nyong’o, with the Helen in the Brad Pitt-Eric Bana film, “Troy.” I barely remember that Helen (Diane Kruger) and that’s not just because of Brad Pitt (Achilles), Eric Bana (Hector) and Orlando Bloom (Paris). For those, like my husband, who over and over again argues against Brad Pitt as Achilles, in the “Iliad,” Homer uses the word “xanthos” to describe Achilles, writing that his hair shimmered like gold. “Xanthos” means “blond,” or “golden” or “tawny.” It could also mean that he had blonde highlights. It is hard to say, but there are Greeks who are blonde, although Jennifer Aniston is a natural brunette. Zeta Makrypoulia, and Elena Kampouris and Tracy Spiridakos are true blonde actresses.

Lupita Nyong’o is 43. Tracy Spiridako is 38. Elena Kampouris is 28. Zeta Makrypoulia, is 47. Homer describes Helen of Troy as “white-armed” which is more about her high status that doesn’t force her into the sun. For my analysis of “The Odyssey,” you can read my long blog entry.

My favorite portrayal of Helen is from the 1971 American-British-Greek historical drama and played by a Greek woman, Irene Papas. I didn’t realize that Papas was Greek or that the director was Cyprus Greek until a few  months while doing research for this piece.

I was surprised and disappointed that Christopher Nolan’s “The Odyssey” doesn’t have any Greek actors in major roles and didn’t take Greek culture into more a more collaborative creative manner. It’s worth nothing what Greek people thought.

I was also shocked to learn that there were no Greek actors cast in any leading roles, on top of this Greek epic being put into the hands of a non-Greek director. For a film that is adapted from an ancient Greek text, one would expect Greek actors (or at least, actors of Greek descent) to star in the movie. Even if that was out of the question, considering the lack of Greek stars in Hollywood, it would at the very least be possible to cast Mediterranean actors. This would not only allow for the movie to appear more ethnographically accurate, it would also help avoid criticism of the lack of Mediterranean representation in Hollywood. By not casting actors that represent the diverse Mediterranean countries through which Odysseus passed by before returning to Greece (Tunisia, Italy — specifically Sicily — and Spain), such countries lose the chance of being represented in a piece of art rooted in the Mediterranean region.

In US history, Greek immigrants were not treated well. Proof of that prejudice is in the Johnson-Reed Act of 1924 that used a quota system heavily favoring immigrants from northern and Western Europe, but restricting immigration from southern and Eastern Europe. For Greece, that meant only 100 visas were granted to Greeks per year. Greek Americans reacted by forming the American Hellenic Educational Progressive Association.

Not being Greek and not having been to Greece, my approach was to watch Greeks on Greeks.

Although my journey began a long time ago when I watched an abridge version of the 1971  “The Trojan Women” on television and in terms of the year made, this one was made before the others, the best way to view this set of films on the Trojan War is in the chronology of events.  In which case, the first film to view is “Iphigenia.”

Iphigenia (1977) ⭐️⭐️⭐️⭐️

Although the 1977 “Iphigenia” doesn’t really show us the Trojan War, it is one of the films that best characterizes it. For me, it is much better than the Christopher Nolan film “The Odyssey.”  There are no gods or goddesses presented to us, but their influence is felt.

First we see a sun against a golden yellow background. Against the rocks is a spear and then a helmet. The supertitles state:

The abduction of Helen by Paris started the Trojan War. The offense against Menelaus became an offense against Greece. And the kings of Greece, led by Agamemnon, brother of Menelaus, gathered in Aulis with their armies and one thousand ships and waited for the winds to blow.

Not only is the House of Atreus represented, but a king from Ithaca is also among the leaders and he has a pivotal role.

Before the generals and kings, we see the soldiers. Half-naked and naked men are on the beach, lounging around. Their horses are in the water. The men are restless. They are not well fed. Agamemnon (Costa Kazakos) attempts to calm the restless rabble by allowing them to slaughter sheep from a nearby temple dedicated to Artemis. The men also slaughter a sacred deer of the temple. There is then a penalty to be paid.

Calchas (Dimitris Aronis), the high priest of the temple of Artemis, delivers the oracle’s demand in front of Menelaus (Kostas Karras), Agamemnon (Costa Kazakos) and Odysseus (Christos Tsagas).

Agamemnon isn’t heartless and he wonders, “How can I keep my heart from breaking when I hear her voice begging me, her father, not to ? Helen, all my curses are upon you!”

Although Agamemnon tells his wife to send Iphigenia by herself, Clytemnestra accompanies her to Aulis. While waiting Agamemnon begins to doubt his plan and sends a letter to his wife revealing the truth and asking her to cancel her trip. Yet Menelaus’ men bring the messenger back to Aulis. Although Agamemnon convinces Menelaus that the war isn’t worth the sacrifice and means to deliver the letter to Clytemnestra personally, she and Iphigenia arrive and Agamemnon resigns himself to the loss of his daughter: “From no on, fate rules, not I.”

Still he can’t quite tell the truth to his wife. When Clytemnestra meets Achilles, their exchange baffles both of them.

Clytemnestra says, “I heard that you came, my king. And I came out to greet you. Modest and handsome, like they told me.”

Achilles doesn’t recognize this woman, but by her manner and dress, he knows she is not a prostitute or servant. He asks, “And you, who are you?”

Clytemnestra is still charmed, and responds, “Good question. How would you recognize me? You are seeing me for the first time.” Yet as their conversation continues, Achilles tells her the truth: “I never asked your daughter to marry me nor has your husband talked to me about this.”  Yet he feels, “This lie is neither a burden to me or to you” and he assessed their situation as “the greater your lament is, the greater is my rage.

Clytemnestra responds, “You were the bait. They are killing my child in your name!” While Achilles advises that she talk to her husband “and do everything to bring him back to his senses, the problem is both the rule of the angry mob and Odysseus.

Clytemnestra exclaims, “that with the blood of your child you’re paying ransom for a whore!” Yet remember, Helen of Troy is Clytemnestra’s half-sister and twin. Although Agamemnon is a king and the leader of the fleets from Greece, he explains, “If I stop this, they will say I support the barbarians. They will not only exterminate us, but your sister, too, and the whole city of Argos!”

Interestingly enough, this is similar to the argument given by Odysseus to his wife Penelope in Nolan’s “The Odyssey.”

In this film, Odysseus hints that if the sacrifice doesn’t go forward, he will reveal the full oracle, meaning the name of the sacrifice to the angry mob of soldiers and then, Odysseus later just that. He returns and informed Agamemnon that he has revealed the name of the chosen sacrifice to the army. A frightened Iphigenia attempts to escape, but Odysseus’ soldier capture her and bring her back.

An ashamed Achilles attempts to save her, trying to shout to the army, “It is Odysseus’ fabrication. I say it to you, your king. Agamemnon gave his daughter to me. She’s the fiancée of your king. Will you let them kill her?”

There is no sympathy from the mob.

One man cries, “We came here for war not a wedding.” Achilles came for glory, and he says to Iphigenia, “If the gods loved me, you would have been mine today. I envy Greece that is taking you away. I envy you for the glory she gives you. There is nothing that I wouldn’t do to save you.”

Iphigenia tells Achilles she is not afraid of death, but rather, “I’m just thinking how much blood will be shed for Helen, and I say that’s enough. Don’t kill for me and above all, don’t get killed.” Tatiana Papamoschou was only 13 when she played Iphigenia. Irene Papas here plays Clytemnestra. The man who plays Achilles was 28.

The film makes it clear that the war isn’t about honor or one woman. It is about the promises of riches and slaves that can be plundered from Troy. If one asks why all these men would be so eager to go toward their death, we can see it in their primal urges to form an angry mob, something reflected in our own times with angry mob scenes that turn to destruction and looting. Similarly “The Trojan Women” shows the aftermath of joyous celebration.

While there is talk of gods and fates, one has to pause and wonder why Calchas won’t pause. He declares, “Let’s not delay; the wind is picking up.” Only Calchas knows if really believed he heard a declaration from the gods or if, indignant and angry, he decides to exact revenge. Does he believe the gods are showing their approval or that his chance at exacting revenge is slipping away?

“Iphigenia” raises our respect for Achilles and he changes from a boastful man who has not desire to settle down because each new sexual conquest is better than the next, yet of all the men, he shows the most personal courage. The film also sets up the friction that will rise between Agamemnon and Achilles during the Trojan War and the tragedy that await Agamemnon when the sacrificial death of his daughter (not shown on screen) and more than a decade of separation builds walls even more fortified than the city of Troy between Agamemnon and Clytemnestra.

The Trojan Women (1971) ⭐️⭐️⭐️⭐️

There are scenes from this film burned in my brain and it has inspired me to write about wars of contemporary times and how women are often the victims of warfare and this is one aspect of rape culture. Based on a Greek tragedy written by Euripides, the film starts with women dressed mostly in black, covered except for their faces as if mourning for a lost way of life.  Children are being torn from the arms of their mothers. The city is being set on fire.

Ten years, ten times the seed was sown, before Troy fell, perished beneath Greek spears. The desert now where homes were, blood drips down from the holy shrines. While to the Greek ships, pass the Trojan treasure. Gold, golden masses, armor, clothing, striped from the dead. Troy’s wealth was legend. For years the Greeks had looked toward the East and talked of the barbarian threat. When Helen, Queen of Sparta, fled with Paris, deserting Menelaus for a Trojan’s love, they were ready.

The dead being carted away. Children are being marched somewhere. Women being moved in different groups as part of a lottery. The women are valuable property. Some women, however, are more prized than others.

Huts here hold others, spared the lot but chosen for the great captains. With them, like them, a captive of the spear, a Spartan woman, Helen.

A fully covered Helen is alone in a cart drawn by two white horses, passing women who angrily cry after her. Yet we don’t see her face, the face that launched a thousand ships.

But if a man would look for misery, it is here to see. Hecuba lies before the gates.

Hecuba’s voice is the first woman’s voice we hear now as the narration ends. Hecuba remembers the Trojan horse: “A four wheel car brought the wooden horse to the gates, golden and bright it was, the reins.” She mourns the loss of everything, but there is more to come. A messenger tells her that her daughter Cassandra will become the concubine of Agamemnon and that her youngest daughter Polyxena has been given to Achilles. She is not alive, but she is free.

Cassandra (Geneviève Bujold) appears in rags and she has clearly gone mad, but she asks for people to celebrate. She calls her concubinage to Agamemnon a wedding, but it will also be revenge against the Greek leader.

The Hector’s widow, Andromache (Vanessa Redgrave),  still has her young son, Astyanax,  by her side and that temporarily consoles Hecuba, but a messenger, Talthybius (Brian Blessed) comes. “Your son must die…it was Ulysses’ idea. Said the son of a hero should not grow.” And then far worse, the mother learns he “will be thrown from the walls of Troy.” Ulysses is Odysseus. We never see him, but Hecuba damns him and she learns she will be his slave.

Yet the highlight of the film is seeing the women raging against Helen and Helen’s sly seduction of her husband Menelaus (Patric Magee) with Hecuba as a witness. The two women, one a former queen and the other, the only one of the two with a chance to regain her place as a royal, face off with polite, proud words. This Helen of Troy is a warrior. There’s nothing delicate about her and she knows her age and her inability to give her husband a son work against her. Her only chance is with Menelaus even though he, like his brother Agamemnon, will have concubines.

Director Michael Cacoyannis also wrote the screenplay based on Edith Hamilton’s English translation. He had previously staged “The Trojan Women” as a play in Italy in 1963.  He took the production to New York and Paris.

Irish actor Magee (1922-1982) was not that much older than Irene Papas (1929-2022).  Papas was 42 when the film came out. Helen left behind not only a husband, but also her daughter by Menelaus: Hermione. Hermione was betrothed to Orestes, the son of Agamemnon, but given to the son of Achilles, Neoptolemus.

This is an anti-war film and while the gods are mentioned, they never appear. The action is firmly rooted in reality.  The film ends with an on-screen dedication: “We who have made this film dedicate it to all those who fearlessly oppose the oppression of man by man.”

Electra (1962) ⭐️⭐️⭐️

This film obviously has a lower budget than “The Trojan Women.”  The brief introduction uses supertitles to tell viewers that the king Agamemnon is returning to his queen, Clytemnestra, after being away at war (in Troy) for ten years. While the people celebrate, Clytemnestra’s jeweled hands and the gaze she gives a younger man reveal something is amiss.

The queen has two children, a dark-haired daughter and a son with lighter hair. The son barely knows his father, but is pleased by the dagger his father gives him.  While Electra watches her brother play with the dagger and a shield, her mother and the lover cast a net over Agamemnon and murder him.

After confining Electra to the palace for years and refusing offers of noble suitors, Clystemnestra’s lover Aegisthes arranges for Electra to be married to an impoverished, old man. Electra reacts by cutting off her long hair. Her husband isn’t a bad man, but he’s being used to discredit Electra’s claim to the royal house of her father.

Greeks and people who love mythology would probably know that another daughter existed: Iphigenia. She was, in one version, killed by her father to appease the goddess Artemis and allow the winds to take his ships with his troops to Troy. Agamemnon also has taken the former princess of Troy, Cassandra, as his concubine, and she has given him twins boys, Teledamus and Pelops, who were murdered by Aegisthus.

In the film, this Clytemnestra makes it clear when she defends herself against Electra’s revenge: “When my father married me to Agamemnon, it was not for the sake of killing my children. Your father forced Iphigenia to come to Aulis, while under the pretext of marrying Achilles. He put her on the altar and there, with a knife, he cut her white throat. If he had sacrifice her for the sake of the Greeks and their children, I would have pardoned him, yes. But did he have to kill my daughter for the caprices of Helen?”

Helen is Clytemnestra’s twin sister who was married to Agamemnon’s brother, Menelaus.

Clytemnestra continues to state her defense: “If, for example, they had captured Menelaus, should I have sacrificed Orestes to save my sister’s husband? Would your father have agreed to that arrangement?…You know when he returned from Troy, he brought that woman named Cassandra. He wanted me to share his bed with her. Each time a woman behaves this way, everyone is quick to judge her. Men, on the contrary, can do no wrong. Why must I have all the problems and pay for them, too?”

She made an alliance with his enemies “because none of his friends would have dared help me.”

The women of the village say, “The sensible woman must pardon her husband; that is a truth.”

Electra asks her mother why she turned her and her brother away from their country and gave their inheritance to strangers. Her mother has paid “for one crime with another crime.”

If you know Greek mythology, you’ll know that the Furies will follow her brother Orestes, but Electra will live on because being a woman seems to be punishment enough.

“Electra” was nominated for a Best Foreign Language Film Oscar. At Cannes, it received a technical grand prize (Michael Cacoyannis) and a Best Cinematic Transposition (Cacoyannis) and was nominated for a Palm d’Or. At the Thessaloniki Film Festival it won Best Film (Cacoyannis), Best Actress (Papas) and several awards from the Hellenic Association of Film Critics Awards.

I was surprised that in the recent comparisons of cinematic Helens, the Helen I prefer, Irene Papas hasn’t come up more often. Looking at Papas, I can’t help but remember “My Big Fat Greek Wedding” and think of how different the casting types are.

“Iphigenia” and “The Trojan Women” are much more moving and coherent than “The Odyssey.”  “Electra” and “Iphigenia” are available to stream free on the YouTube channel Greek Cinema.

NB: For those who want to see another Greek film based on classic Greek play or another performance by Irene Papas, there’s also “Antigone.”

Antigone (1961) ⭐️⭐️⭐️

In the titular role, Irene Papas is fiery, but the film which director George Tzavellas adapted from the Sophocles play, seems more like a play than a fully realized film.

Oedipus has inadvertently married his mother, Jocasta, after he mistakenly killed his father. This is the tale from which we get the phrase Oedipal complex. Having stepped down from the throne, Oedipus left his two sons, Eteocles and Polynices, as alternating rulers of Thebes. Each was to reign for a year and then give the throne to the other, but Elteocles refused to cede the throne. The two brother go to war and kill each other.

The film picks up with the brothers already dead. Oedipus’ brother-in-law/uncle, Creon (Manos Katrakis), is now the king of Thebes.

Creon declares that the body of Polynices will remain unburied, since he attacked Thebes in order to dethrone his older brother. Elteocles is buried. The brothers had two sisters: Antigone (Irene Papas) and Ismene (Maro Kontou). Antigone defies her uncle, the king, and buries her brother. Creon initially arrests both sisters, but decides only Antigone will be punished. She will be walled up alive.

Creon’s son, Haemon (Nikos Kazis), is engaged to Antigone and this is very much a love match. When Creon is finally convinced by Tiresias (Tzavalas Karousos) that his punishment of both Polynices and Antigone was not in keeping with the laws of the gods, it is too late. This is a Greek tragedy, after all. His son and Antigone are both dead. Creon is left heartbroken.

The film was nominated for a Golden Bear and a Golden Globe Award. Manos Katrakis won Best Actor at the San Francisco International Film Festival. In Greece, Irene Papas won Best Actress and Argyris Kounadis won Best Music at the Thessaloniki International Film Festival.

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