- LULU / PANDORA'S BOX
- DAPHNIS AND CHLOE
- FEDRA
- THE FUGITIVE KIND
- THE TESTAMENT OF ORPHEUS
- PHAEDRA
- HERCULES CONQUERS ATLANTIS
- YOUNG APHRODITES
- CONTEMPT
- PROMETHEUS FROM THE VISEVICE ISLAND
- SANDRA OF A THOUSAND DELIGHTS
- THE GOLDEN THING
- THE TRAVELLING PLAYERS
- EURIDICE BA 2037
- IPHIGENIA
- A DREAM OF PASSION
- CLASH OF THE TITANS
- THE YEARS OF THE BIG HEAT
- ENIOCHUS - THE CHARIOTEER
- ANTIGONE
- EDIPO ALCADE
- THAT'S LIFE
- BLADE RUNNER
- VERTIGO
- MOURNING BECOMES ELECTRA
- ORPHEUS
- PANDORA AND THE FLYING DUTCHMAN
- ULYSSES
- HERACLES AND THE QUEEN OF LYDIA
- BLACK ORPHEUS
- ANTIGONE
- ELECTRA
- JASON AND THE ARGONAUTS
- ΤΗΕ GORGON
- OEDIPUS REX
- ΤΗΕ ILLIAC PASSION
- THE CANNIBALS
- ΜEDEA
- NOTES FOR AN AFRICAN ORESTEIA
- FOR ELECTRA
- PROMETHEUS IN THE SECOND PERSON
- VOYAGE TO CYTHERA
- ULYSSES' GAZE
- ΤΗΕ MATRIX
- O BROTHER, WHERE ART THOU?

ΤΗΕ ILLIAC PASSION
USA, 1968

Directed by: Gregory Markopoulos. Screenplay: Gregory Markopoulos. Director of Photography: Gregory Markopoulos. Music: BŽla Bartok. Film Editor: Gregory Markopoulos. Cast: Gregory Markopoulos (Narrator), Richard Beauvais (Prometheus), David Beauvais (Prometheus’ conscience), Robert Alvarez (Narcissus), Taylor Mead (Elf), Sheila Gary (Echo), Peggy Murray (Muse), Tom Venturi (Hyacinthus), Kenneth King (Adonis), Jack Smith (Orpheus), Andy Warhol (Poseidon), Paul Swan (Zeus), Clara Hoover (Io), Tally Brown (Aphrodite). Production: Gregory Markopoulos. Length: 90 min. Colour.

For me the inspiration for The Illiac Passion was derived from Aeschylus’ Prometheus Bound: from the multitude of impressions I had had from time to time of what the other two, lost plays of his trilogy, might have been like. And my own golden circle of inspiration not once ignored what I had read once as a student in a wonderful essay by Gordon Craig that the actor should appear naked upon the stage. Thus, I decided to film the protagonist shaped out of Prometheus naked. The season in New York was proper towards this endeavour, and I had no difficulty once I had cast the role in either filming the protagonist naked or in the most obvious difficulty, developing the film footage. But of the main characters in the Aeschylus, I only kept three: Prometheus, Poseidon, and Io. Prometheus was cast and in my own being thought of as Prometheus (thought he has no such name in the film proper) was portrayed by Mr. Richard Beauvais. Poseidon no longer arriving in a bath tub but riding an exercycle was portrayed by Mr. Andy Warhol. And Io not chased by a gadfly, but cast in a kind of subterranean aura, slowly becoming porcelain, and imbued with an Asiatic quality, portrayed by Miss Clara Hoover. Of the three members, I had to film most with Richard Beauvais. Andy Warhol’s footage was shot all in one evening, with "Life" magazine recording the event in colour stills; the stills have never been published. Clara Hoover’s footage was shot over a period of two or three weeks; a part of the time in below zero weather with Richard Beauvais at Lloyd’s Neck. Long Island.
If the point of inspiration for the three central characters (though in essence Beauvais is the only central character) was Aeschylus’ play, the point of inspiration for the mythic characters, if they be so called, were the Greek myths which had always brought me such jubilation: the myths of Narcissus and Echo, Icarus and Daedalus, Hyacinthus and Apollo, Venus and Adonis, Orpheus and Eyrudice, Zeus and Ganymede, and many others. Using these pointillistically, as illuminated, exotic ports of departure I allowed myself to depart, to drift, to journey amongst the emotions of the players I found during my odyssey: until finally, in the final version of The Illiac Passion, the players become but the molecules of the nude protagonist, gyrating and struggling, all in love, bound and unbound, from situation to situation in the vast sea of emotion which becomes the filmmaker’s proudest endeavour.
One more characterization should be mentioned as a direct descendant of the two characters who bind Prometheus in the opening passages of the Greek play. The characterization which I have in mind is that of the inimitable Mr. Taylor Mead (underground poet and film personality) who portrays in composite the two characters from Aeschylus: Power and Force. Some film spectators, having seen The Illiac Passion (one dissenting that he was needed in the film!), have looked to him as a sprite, as a fire image; as a fire image because of the costume we selected together for his portrayal. None of these, however, valid as they may seem from the film spectator’s viewpoint, hold as much truth as the filmmaker’s own interpretation: that Taylor Mead is the opposite of the Muse in the film, a Demon; a Demon in the full sense of the Greek word. One has only to think of the film in order to agree to the interpretation. For always, the Demon and the Muse, so deftly portrayed by a true-to-life Muse herself, Mrs. Peggy Myrray, are kept apart; apart, that is, they are never seen or superimposed in the same scene or composition together. This does not hold true of the Eros character of which I shall speak later...

Gregory Markopoulos