MoPoshy Absolutely brilliant

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Raymond Sierra The film may be flawed, but its message is not.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

calvinnme ... he was just the lit match that set the kindling afire. This is the most messed up family ever. Christine Mannon has always hated her husband Ezra Mannon, a general in the Union army at the time of the Civil War. Outside of casualties the Mannons have nothing to fear from the war since they are safely in New England, far from the actual fighting. But they actually have their own civil war brewing. On top of Christine hating her husband since she married him, begging the question WHY did she marry him, Christine has a much younger lover, sea captain Adam Brant (Leo Genn). Apparently the daughter in the family, Lavinia (Rosalind Russell) fancied Brant at one time herself, so she could hate her mom because she is betraying her father, or she could just be jealous that a woman in late middle age beat her out of a beau.Brant began just toying with Christine because he wanted revenge for something the Mannons did to his mother years ago, although the toying turned to love. Plus it turns out Brant is a Mannon himself, but it is a part of himself that he despises. But Christine knows about the shunned relative angle and is still not dissuaded.Then dad and son return from war, and it turns out that there is something pretty weird about the father/daughter and the mother/son love dynamic going on here. It doesn't look paternal and it does not look platonic. Christine switches Adam's heart pills with poison and kills him so she can be free to be with Brant. However, Lavinia discovers her scheme and the poison pills. Rather than turn her mother over to the authorities for murder, she convinces her brother (Michael Redgrave as reluctant war hero and mama's boy Orin) to mete out their own brand of personal justice rather than send mom to the gallows. The problem is, Lavinia is more like her mother than she would ever admit, Orin is a very unstable partner in her scheme, and Christine does not think that Lavinia's idea of justice is all that it is cracked up to be.Add in Lavinia's rather naïve yet devoted suitor with high moral standards, played by a - believe it or not - sixth billed Kirk Douglas, and you have a recipe for disaster.If this sounds like a Greek tragedy, actually it is. But you know what, I was glued to to the screen taking it all in. I felt like a voyeur invading this family's most personal crazy secrets. It was just like when the brother and sister were on the boat looking down, like voyeurs, into the galley and seeing their mother in the arms of her adulterous lover. The movie grabs your attention and keeps it for 2 1/2 hours.Highly recommended especially for Michael Redgrave and Rosalind Russell who, though she was just shy of 40, did not look too old for the part. Michael Redgrave takes a wild ride of emotions and has you believing every one of them. Oh, and Kirk, run! Run far away from these people! No scrape that Burt Lancaster or the Duke ever got you into was as dangerous as these Mannons!

Phil (ROC-7) The writing, direction and acting have joined forces into creating one of the most ludicrous concoctions I have ever witnessed. I love classic films and theatre and the acting greats involved usually do a fine jobs in other films,but this is their exception. Rosalind Russell who is an exceptional pro winds up being a prototype for Carol Burnett's Norma Desmond creation with Redgrave playing wide eyed mad as well! The Greek actress playing the mother Christine greedily chews the scenery and her moaning is a hoot ("Mother, don't moan.")! Even young Kirk Douglas tries to rise above the material, but soon is weighted down by the "melo-hammy" play, He does look quite relieved to leave his final scene. I was half expecting to see the wonderful Henry Hull turn to the camera and say,"You folks are lucky-you can leave..I have to stay here." If you want to have some real unintended laughs then I suggest this creaking groaner!

mikelmike77 Very interesting film , updated from a Greek tragedy . A fascinating study of human behavior , Michael Redgrave is fantastic as Orin , the brother hovering on the edge of madness and guilt , and Rosalind Russel is every bit his equal as the conniving sister , trying to escape her fate , but unable to shake her demons . Orin finds release in death , Vinny in self-exile and a perminent state of mourning . But the star of this film is the well written interaction between these two and the fabulous execution of that written word by the two actors . It also gives insight into the times , the civil war era and how situations were handled or mishandled then . Can't miss entertainment !!

T Y A proud ante-bellum family goes all 'Medea' on each other, and tears themselves to pieces for two and a half hours in this updating of the Orestia. It really pounds home how timeless the Greek classic is, in a way that seeing actors in togas, expounding on their anger, could never accomplish. The Little Foxes covers similar ground as a showcase for Bette Davis. And Peyton Place discloses the sinister secrets rotting the soul of an outwardly pleasant small town. But MbE is the most startling of them all, because it's so unsung. I put it on unsuspecting, and it was so engrossing and vengeful I couldn't stop watching until I saw who triumphed and who was punished. Only the last third falters a bit, as the rather explicit Freudian psychology of the first half doesn't have anywhere left to go.I don't understand viewer's qualms about 'dated acting.' It's 1947, what do they expect? I cut old movies a lot of slack for things like that as they also provide a window into a different moment in the culture. Everyone is up to their role, but Redgrave is above average. This is not a filmed play as some have indicated. There is modest camera work; this is clearly not some stage production that they just filmed. Just don't expect aggressive, needlessly showy visuals. The story is the thing here. This is where Tennessee Williams might have gone without resorting to excesses like cannibalism. It's a revelation that Rosalind Russell wasn't typecast, once upon a time. Not something I'd watch over and over, but wow, exhilarating, and relatively fast-moving for drama.