Irene Papas or Irene Pappas (, ; born Eirini Lelekou (); 3 September 1929 – 14 September 2022) was a Greek actress and singer who starred in over 70 films in a career spanning more than 50 years. She gained international recognition through such popular award-winning films as The Guns of Navarone (1961), Zorba the Greek (1964) and Z (1969). She was a powerful protagonist in films including The Trojan Women (1971) and Iphigenia (1977). She played the title roles in Antigone (1961) and Electra (1962). She had a fine singing voice, on display in the 1968 recording Songs of Theodorakis.
Papas won Best Actress awards at the Berlin International Film Festival for Antigone and from the National Board of Review for The Trojan Women. Her career awards include the Golden Arrow Award in 1993 at Hamptons International Film Festival, and the Golden Lion Award in 2009 at the Venice Biennale.
Early life
Papas was born as Eirini Lelekou (Ειρήνη Λελέκου) on 3 September 1929, in the village of Chiliomodi, outside Corinth, Greece. Her mother, Eleni Prevezanou (Ελένη Πρεβεζάνου), was a schoolteacher, and her father, Stavros Lelekos (Σταύρος Λελέκος), taught classical drama at the Sofikós school in Corinth. She recalled that she was always acting as a child, making dolls out of rags and sticks; after a touring theatre visited the village performing Greek tragedies with the women tearing their hair, she used to tie a black scarf around her head and perform for the other children. The family moved to Athens when she was seven years old. She was educated from age 15 at the National Theatre of Greece Drama School in Athens, taking classes in dance and singing. She found the acting style advocated by the School old-fashioned, formal, and stylised, and she rebelled against it, causing her to have to repeat a year; she eventually graduated in 1948.
Career
Theatre
Papas began her acting career in Greece in variety and traditional theatre, in plays by Ibsen, Shakespeare, and classical Greek tragedy, before moving into film in 1951. She continued to appear on stage from time to time, including in New York City in productions such as Dostoevsky's The Idiot. She played in Iphigenia in Aulis in Broadway's Circle in the Square Theatre in 1968.
She starred in Medea in 1973 on Broadway. Reviewing the production in the New York Times, drama critic Clive Barnes described her as a "very fine, controlled Medea", smouldering with a "carefully dampened passion", constantly fierce. Theatre critic Walter Kerr also praised the performance. Both saw in her portrayal what Barnes called an "unrelenting determination and unwavering desire for justice". She appeared in The Bacchae in 1980 at Circle in the Square, and in Electra at the Ancient Theatre of Epidaurus in 1985.
Film
Europe
Papas was discovered by Elia Kazan in Greece, where she achieved widespread fame. Her first film work was a small part in Nikos Tsiforos's 1948 Fallen Angels (Greek, "Hamenoi angeloi"). She began to attract attention with her role in Frixos Iliadis's 1952 film Dead City (Greek, "Nekri Politeia"). The film was shown at the Cannes Film Festival, where Papas was welcomed by the international press, and photographed spending time with the wealthy Aga Khan. Greek filmmakers thought her a noncommercial actress, and she tried her hand abroad, signing with Lux Film in Italy, where the publicity for Dead City was enough to launch her as a film star. She played in Lux's 1954 films Attila and Theodora, Slave Empress, which attracted Hollywood's attention. Many other films followed, both in Greece and internationally.
She was a leading figure in cinematic transcriptions of ancient tragedy, playing the title roles in George Tzavellas's Antigone (1961) and Michael Cacoyannis's Electra (1962), with her powerful portrayal of the doomed heroine; this brought her star status. She played Helen in Cacoyannis's The Trojan Women (1971) opposite Katharine Hepburn, and Clytemnestra with "smoldering eyes", according to The New York Times, in his Iphigenia (1977).
Papas became fluent in Italian, and many of her films were made in that language. She said Cacoyannis was the only director that she was really comfortable with, describing herself as "too obedient" to stand up to other directors. Cacoyannis said that she was part of his decision to make Iphigenia, forming his image of Clytemnestra with her power and physique, and her un-selfpitying, impersonal anger against the injustice of life, something that in his view was accessible to actors from countries like Greece that had experienced long years of oppression.