Irene Papas & Mikis Theodorakis album 'Songs Of Theodorakis'
Jan 22, 2021 18:41:27 GMT
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Post by petrolino on Jan 22, 2021 18:41:27 GMT
Irene Papas : 'A Greek Tragedy'
Here's a rare cut from Irene Papas' album recorded with composer Mikis Theodorakis, 'Songs Of Theodorakis' (1968), which was cut during a turbulent time in which she was targeted for persecution on political grounds. Papas would return to Italy, where she'd worked successfully in the 1950s, and another ancient nation became her home away from home.
Papas went on to cut the experimental album 'Odes' (1979) with composer Vangelis. They called Papas the Greek revolutionary ...
Italy
Gian Maria Volonte & Irene Papas in Elio Petri's 'We Still Kill The Old Way' (1967)
Bekim Fehmiu & Irene Papas in Mario Bava, Franco Rossi & Piero Schivazappa's 'The Odyssey' (1968)
Irene Papas & Ornella Muti in Umberto Lenzi's 'Oasis Of Fear' (1971)
Irene Papas in Alberto Lattuada's 'I'll Take Her Like A Father' (1974)
Poster for Lucio Fulci's 'Don't Torture A Duckling' (1972)
'Sorrow' - Irene Papas & Mikis Theodorakis
Interview Excerpt : Roger Ebert goes to see Irene Papas (who's hard at work with Genevieve Bujold on 'Anne Of A Thousand Days', her co-star to be in 'The Trojan Women') in 1969
'LONDON - There's a photograph of Irene Papas in the files of The Sun-Times, taken when she arrived in Hollywood in the 1950s. It's a typical publicity picture, sort of modified cheesecake; she's sitting on a trunk with her legs crossed and the handout says something about a Greek starlet arriving to star in the new Cagney picture.
Movie publicity is routinely irrelevant, but this photo is some sort of prizewinner. To imagine Irene Papas ever being described as a "starlet" is wild enough; to imagine her as a subject for cheesecake is to define, somehow, what desperate lengths Hollywood went to in the TV-dominated 1950s. Or to put it another way: There are a lot of pretty girls in movies, but not many women. Irene Papas is a woman, a lady, a great actress. We do not have many like her. Perhaps that's why she doesn't appear in many movies; ordinary actors have trouble sharing the screen with her. John Wayne has something of the same quality. Many young actors don't have the authority and presence to play opposite him. They tend to go transparent.
Miss Papas has other problems: Her height rules out many leading men, her accent rules out many roles, and her unusual beauty is not the sort that superstar actresses like to compete with. Still, she's been in enough movies to inspire something of a cult. She was the widow in "Zorba the Greek," and the guerrilla fighter in "The Guns of Navarone," and she triumphed in two classical leading roles, "Electra" and "Antigone." Most recently she was Kirk Douglas' wife in "The Brotherhood," and now she is playing Katherine, wife of Henry VIII, opposite Richard Burton in "Anne of the thousand Days."
She had just arrived for costume fittings one day last week, and she visited the set to watch Burton and Genevieve Bujold (as Anne) do the scene in which he agrees to murder Katherine.
"Not very encouraging, is it?" she said. "But I prefer Anne to Katherine all the same. Katherine already had 20 years of Henry. Why not let another woman have a chance?" She smiled. "But don't quote me because the English adore their suffering Queen Katherine."
She watched Burton for a moment. "You know," she said, "I once auditioned for a part opposite him in 'Alexander the Great.' But I didn't get it. I never do, when I audition. I don't like the thought that I'm being judged.
She greeted Burton and Miss Bujold; was introduced to Charles Jarrott, the young Canadian director; said hello to Liza Todd, Elizabeth Taylor's daughter, who was visiting the set, and then it was time for lunch in the Shepperton Studios commissary. She ordered a plate of salmon and a bottle of mineral water: "Something simple. My stomach has been a bit uneasy today."
She lives entirely in hotels these days, she said. Like Melina Mercouri, she refuses to return to Greece until the military junta is overthrown.
"We are nothing but an American colony," she said ...
"We import chewing gum and automobiles, books and records and culture. No wonder the Americans have done nothing against the junta. They run the country. What's Onassis? Nothing.
And yet who am I to talk? I make movies, and where does the money come from for them? Sometimes I think I should simply stop acting. A person should change professions every so often. I keep repeating my same skills in film after film. My mind is so deep in laughter and tears.
Why do anything, for that matter? The more mature you become, the less you want to teach. And acting is teaching. I claim that I act because I need to eat. I cry and I eat. But why should I eat simply because I cry well? I should eat because I am hungry. But that is so difficult in this world.
We live surrounded by consumer goods, by artifacts. In the cities, we are victims of the amount of merchandise that needs to be transferred. After they discovered the washing machine, everyone should have been given one. Otherwise, what is the benefit of progress? To make money?
Plato made the first mistake. He began to talk about the soul and morality, and he prevented the Epicureans from searching the nature of man. So Plato delayed the scientific and technical revolution for 3,000 years..."
And yet who am I to talk? I make movies, and where does the money come from for them? Sometimes I think I should simply stop acting. A person should change professions every so often. I keep repeating my same skills in film after film. My mind is so deep in laughter and tears.
Why do anything, for that matter? The more mature you become, the less you want to teach. And acting is teaching. I claim that I act because I need to eat. I cry and I eat. But why should I eat simply because I cry well? I should eat because I am hungry. But that is so difficult in this world.
We live surrounded by consumer goods, by artifacts. In the cities, we are victims of the amount of merchandise that needs to be transferred. After they discovered the washing machine, everyone should have been given one. Otherwise, what is the benefit of progress? To make money?
Plato made the first mistake. He began to talk about the soul and morality, and he prevented the Epicureans from searching the nature of man. So Plato delayed the scientific and technical revolution for 3,000 years..."
Just then Hayley Mills came into the dining room. Miss Papas greeted her warmly. "I was in a picture with her, 'The Moon Spinners.' You don't remember? Ah, well, I do many bit parts: I'm not too proud, and they pay well ..."
- Roger Ebert, July 13, 1969
'∞ (Infinity)' ~ Aphrodite's Child ft. Irene Papas
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James Cagney & Irene Papas
'In The Orchards' - Irene Papas & Mikis Theodorakis
