paid in full Now remember this is a movie from 1967. A long time ago. But first and foremost it is a great play by Shakespear. Let's not forget that. And the film adaptation is very well done, the acting is superb. It is hard to think of a better way to have done this film.

Dalbert Pringle Despite elegant costumes and its much-lauded direction by Franco Zeffirelli, this Shakespearean marital comedy failed to deliver. As a viewer, I'd say that this film's intended magic missed its mark.This film's disappointment-factor was mainly due to its 2 lead actors, Elizabeth Taylor & Richard Burton, for (1) Being too old for their parts (She, 35. He, 42), as well as (2) Both of them being co-producers of this less-than-satisfying production.In my opinion, these 2, together, literally ground Shakespeare's 16th Century play right into the dirt without even giving it a fair chance to really breathe and come to life.Featuring lots of irksome scenery-chewing by Taylor (who, as usual, wore way too much mascara and eyebrow pencil) and plenty of pompous bellowing by Burton (who was nothing but an egocentric windbag), this 1967 costume comedy certainly did wonders for encouraging spousal abuse from both sides of the matrimonial bed.Taylor, as Katharine (the shrew), scored high points through verbal castration and the flat refusal of any sexual contact with her partner. While, on the other hand, Burton, as Petruchio (the tamer), did his best through humiliation tactics and the forced starvation of his mate.(My-oh-my, aren't these 2 just a wonderful pair?) Apparently, this $4 million production was a huge, box-office hit upon its initial, 1967 release. But, now, 47 years later, it sucks. Had this film's 2-hour running time been reduced by a good 30 minutes, then, yes, perhaps that might've helped matters, somewhat.

Red-125 Shakespeare's The Taming of the Shrew (1967) was directed by Franco Zeffirelli. Any director who selects The Taming of the Shrew in the 20th (or 21st) Century has a problem. How to you deal with a play that is basically about spouse abuse? We all know the basic plot-- Katharina is a strong-minded woman, therefore a shrew. Petruchio marries her for her money, and then subjects her to physical and psychological torture. Ultimately, she breaks, and becomes the docile, subservient wife that Petruchio wants her to be.Some directors have chosen to tell us that Katharina isn't really broken. She has learned to manipulate Petruchio so he thinks he's the master, but she knows that this isn't true. (Mary Pickford famously gave the speech about man as master, but then she winked.)Not so here. Elizabeth Taylor as Katharina appears to really mean it when she says that the husband is the master. Richard Burton, as Petruchio, appears to really desire and accept Katharina's defeat. It's painful to watch. (We'll never know what Shakespeare really thought about this. But we know, it would seem, what Zeffirelli thought.)There's a second plot, involving Katharina's sister, Bianca, but Zeffirelli brushes this aside. It's actually a pretty funny and interesting plot, but you'd never know it from this film.What we get instead is lots of "color." "See Padua the way it looked in the Renaissance. The crowds, the prostitutes, the petty criminals." (Note to Zeffirelli--this is Shakespeare, not a travelogue.)Burton was handsome, Taylor was beautiful, and the movie was pretty bad. If you want to see a Taming of the Shrew, see the Pickford-Fairbanks version. Fairbanks was handsome, Pickford was beautiful, and the movie was pretty good.

laurahiggins111 Franco Zefferelli's adaption of William Shakespeare's classic play, The Taming of the Shrew, released in 1967 is one of the most effective Shakespeare adaptations of its time. Filled with celebrated actors, decadent costumes, and set against an opulent Italian backdrop, The Taming of the Shrew is a fast-paced and enchanting watch, infused with the classical comedic screenplay which made the original comedy-drama such a success. Zefferelli's adaptation stays true to the original play, whilst also receiving a more contemporary lift, making it an entertaining and enjoyable experience for all modern audiences. This attraction can certainly be partly credited to the casting of two renowned film stars, Elizabeth Taylor and Richard Burton in the leading roles of Katherine and Petruchio. The casting of this particular couple who were actually married at the time allows them to bring their natural chemistry to the screen, adding a fiery disposition to their characters and making the principal relationship more authentic. In fact, the couple were described in the original trailer as playing, 'The motion picture they were made for...need we say more!' Indeed Taylor and Burton seem to intensely connect with their on-screen counterparts, the eccentric and passionate husband and wife. Taylor and Burton excel as the plays principal chaotic duo and for me, they were the major attraction of this adaptation. Taylor perfectly portrays Katherine's tempestuous nature, capturing the wildness of the Shrew so effectively that anyone who had formerly doubted Taylors potential to portray a leading Shakespearean lady were proved extraordinarily mistaken. Likewise Burton flawlessly depicts Petruchio as a self-absorbed and arrogant man, with the flair we have come to expect from the talented actor. Burtons Petruchio excellently emulates his wife's unruliness with his obscene expressions and constant state of inebriation. However, personally it was Taylor's performance in particular which captivated me. The adaptation for the most part stays true to the original plot, one crucial exception is that the traditional Induction is eliminated, commonplace for the majority of Shakespearean adaptations of the epoch. Some of the original subplot is omitted, such as the extent of attention on the relationship between Lucentio and Bianca, making room for more focus on the leading couple. The overall tempo of the film is fast paced, creating a dramatic and entertaining experience. The themes of male chauvinism, domestic violence and the repression of women are dealt with in such a comedic fashion it's easy to forget how harmful and prominent these issues actually are in contemporary society. Fortunately, Taylors Katharina appears to turn the tables on her Petruchio in the end, emphasizing the underlying control held by woman and giving a new edge to the apparently submissive character. The new domesticated Katharina who emerges in the end is ultimately proved to be deceptive by her exit, by cunningly pushing Petruchio to follow her and subjecting to him to scrutiny from his contemporaries. This pursuit is reminiscent of the chase which also occurs in their introduction. This portrays a power reversal which is contrasting to Shakespeare's conclusion and also slightly rebuffs the misogynistic overtone of the film making it evident who is really in charge. This slight alteration which shifts the balance of power is an appealing finale for the female audience. Overall the film retains its comedic aspect which makes it a humorous and enjoyable watch. Zefferelli shoots his exuberant motion picture against a picturesque Italian backdrop, certainly deserving of its two Academy Award nominations, Best Costume Design and Best Art Direction. The opulent costume design is reflective of the era, epitomizing the decadence of dress the 60's has come to be renowned for. The scenery is certainly inspirational, perhaps the sunny Italian atmosphere is intensified by the fact that Zefferelli himself is Italian which makes the environment more authentic, by having a native director who certainly knows what he is doing. These aspects are a key attraction to this version of The Taming of the Shrew, adding to and emphasizing the energy and fervour of the picture. On aspect of the film which was not so favourable and would have greatly added to its appeal had it been more successful was its score. Following the musical success of 'Kiss Me, Kate', which opened in London's West End in 1951, Nino Rota's musical composition feels slightly lacking in drama and excitement, a feature which did not escape the critics. Otherwise, The Taming of the Shrew was received to generally positive reviews from critics at the time of its release and it retains its timeless appeal even now.