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They call it Giant because everything in this picture is big, from the generous running time (more than 200 minutes) to the sprawling ranch location (a horizon-to-horizon plain with a lonely, modest mansion dropped in the middle) to the high-powered stars. Stocky Rock Hudson stars as the confident, stubborn young ranch baron Bick Benedict, who woos and wins the hand of Southern belle Elizabeth Taylor, a seemingly demure young beauty who proves to be Hudson's match after she settles into the family homestead. For many the film is chiefly remembered for James Dean's final performance, as poor former ranch hand Jett Rink, who strikes oil and transforms himself into a flamboyant millionaire playboy. Director George Stevens won his second Oscar for this ambitious, grandly realized (if sometimes slow moving) epic of the changing socioeconomic (and physical) landscape of modern Texas, based on Edna Ferber's bestselling novel. The talented supporting cast includes Mercedes McCambridge as Bick's frustrated sister, put out by the new "woman of the house"; Chill Wills as the Benedicts' garrulous rancher neighbor; Carroll Baker and Dennis Hopper as the Benedicts' rebellious children; and Earl Holliman and Sal Mineo as dedicated ranch hands. --Sean Axmaker ... Read more

Reviews (62)

The quintessential Texas epic loaded with stars!
This 202-minute slow-paced drama exemplifies the lives of three generations of cattlemen on a grandiose west Texas cattle ranch at the onset of the oil boom. Being a native Texan with relatives living close to the area near Marfa, Tx where GIANT was filmed, I LOVE this movie for the sheer drama and myth of our state. (and yes, there ARE some exaggerations) But it's also a well-crafted movie with exemplary performances by Rock Hudson, Elizabeth Taylor, James Dean, and a very young Dennis Hopper! Viewers seeking a fast-action adrenaline-pumping film probably will be bored by GIANT, but viewers who enjoy classical performances, historical sagas, (and old movies) will cherish this movie. It's sort of like a western "GWTW"! They don't make 'em like this anymore!

A gigantic screen presence
What about this movie isn't big? Big stars (Elizabeth Taylor and Rock Hudson); big state (Texas); big ranch (2 million acres of prime cattle land), and big length; at 202 minutes, this film runs about 45 minutes too long. The story is the familiar one about grandiosity run amok; the moral, which has been done to death, is that the simple life is the one best worth living. We've seen it all before. So why see this movie? In two words: James Dean. In his last film before his tragic death on the Freeway at the age of 24, Dean showed that he was what his legion of fans always claimed: a true genius. Try to imagine anyone else in the role of Jett Rink , and the character remains a cipher - lifeless, dull, nothing. It took Dean to bring it to life and make it his own. In this movie, James Dean and Jett Rink become indistinguishable from each other. And perhaps only an actor as brilliant as Dean could turn Rink from a character we love in the first half of the film, to a character we hate at the end. His drunken tirade near the movie's end is a tour de force. Dean's magnificent performance doesn't take away from the very creditable acting by Rock Hudson as the millionaire rancher Bick Benedict, Elizabeth Taylor as his wife Leslie, the young Sal Mineo, and especially Mercedes McCambridge as Bick's bitter, sexually frustrated sister with an unrequited passion for Jett Rink; but next to Dean's knockout performance, they pale into mere adequacy. Forget everything else; this is Dean's movie.

This is Texas?
I recently decided to view this film. Let's see - a reference to Neiman-Marcus - some wide open spaces, some cattle and oil wells. O.K. - but this film does not really tell about Texas and Texans. Thankfully, Chill Wills (from Seagoville, TX) was in it. He was the most Texan thing about this film. I wish I had something more positive to say - but I don't.

Giant Is Not A Widescreen Film
The product information here should be carefully read, as it reveals that this edition of Giant has been transferred in a 1:1.66 letterbox transfer. This is a travesty. Giant was filmed and released in the classic 1:1.33 "Academy" aspect ratio, which also happens to be the aspect ratio for NTSC analog television. George Stevens disliked widescreen processes, although he was forced to use them by studios on later films.
The time has come to put a stop to these unnecessary, phoney "restored" versions of classics. It's just a marketing ploy to squeeze more money out of old warhorses. Going back to the good old days of the laserdisc, I never much cared about the extras that were first introduced by Criterion and later imitated by the major studios. I've always responded to a high quality video transfer taken from the best film elements available. Getting the aspect ratio wrong and mutilating the images of Steven's classic film makes everything else irrelevant.
Thank goodness I still have my laserdiscs. Failing that, grab a copy on VHS.

FANTASTIC!
The DVD is superb -- I do not know what all the complaints about sound, etc. are all about! My goodness, this film is almost 50 years old -- and I think it is in wonderful shape!

I purchased this video because I have become a big James Dean film, but the acting of Elizabeth Taylor, Rock Hudson, Carol Baker, and Dennis Hopper were splendid.

To think that Hudson was a mere 29, Taylor 23, and Dean 23 and could play characters who age 30 years with such reality is a true testament to their genius! Of course, the makeup artists must also receive recognition.

The most disturbing portion of the film to me is when Hudson confronts "Sarge" the restaurant owner in a fist fight and when "Sarge" lands into the juke box, "The Yellow Rose of Texas" begins to play. However, this epic film is full of irony and subtle twists and nuances -- to really grasp the entire message this film needs to be viewed more than one time.

The irony of the Mexican children singing The National Anthem during the funeral of Angel (played by a very young Sal Mineo) touched me. Little Angel was a person who died for the United States and yet was the focus of bigotry from his impoverished birth until his death.

Or course, in my opinion, there was and never will be another James Dean -- it is heartbreaking to watch this dramatic genius in the final film performance before his untimely demise. Like Buddy Holly, I will always wonder where Dean's career would have gone.

Carol Baker is fantastic in her first film role and the very young Dennis Hopper's performance is equally memorable.

This film speaks to the injustices of racial bigotry that unfortunately will always exist except in a utopian world.

The additions to this DVD make it a must-buy!

Please don't hesitate to purchase -- this DVD is worth every penny -- and then some!

Oh, the editorial review refers to Elizabeth Taylor as a Southern Belle and this is incorrect. Leslie Benedict is from Maryland and even makes the comment to Hudson and his crownies that she was from the "Center of Politics" when Hudson tries to push her aside so the men can talk "Business and Politics". ... Read more

Amazon.com

Among the most exciting of MGM swashbucklers, Richard Thorpe's 1952 Ivanhoe stars Robert Taylor as the medieval hero of Sir Walter Scott's novel. Returning to England from the Third Crusades, Ivanhoe is steadfast in his determination to raise the ransom for the captured King Richard (Norman Wooland), but the effort is full of peril. First is Ivanhoe's reunion with his estranged father (Finlay Currie), a Saxon who hates the Norman king and refuses to give his son the money. Then there's Ivanhoe's unpopular rescue of a wealthy Jew, Isaac (Felix Aylmer), from anti-Semites, and the subsequent decision by Isaac's beautiful daughter, Rebecca (Elizabeth Taylor), to pay Ivanhoe's entry fee in a tournament. (The strapped knight seeks the tourney's cash prize.) Wait, it gets worse: two of Ivanhoe's closest associates (played by George Sanders and Robert Douglas) collude with Richard's evil brother, Prince John (Guy Rolfe), to discredit their friend and steal away Rebecca and another woman, Rowena (Joan Fontaine)--who also fancies Ivanhoe--for themselves. Yes, the situation looks grim, but surprise appearances by a couple of legendary hero types toward the end help level the playing field. Nonstop adventure to make one swoon, Ivanhoe is a gorgeous treat and reasonably faithful to the Age of Chivalry. Things worked out so well for this film, Thorpe and Taylor got together the next year to make Knights of the Round Table. --Tom Keogh ... Read more

Reviews (11)

Very Good Rendition of the Sir Walter Scott Classic Tale!
Robert Taylor and Director Richard Thorpe team up for their first of two (Knights of the Round Table in 1953) epic tales of noble knights and beautiful damsels in this well made adaptation of the 1819 Sir Walter Scott classic, nominated in 1952 for three Academy Awards, including Best Picture. It is, of course, the classic retelling of one man's, Wilfred of Ivanhoe, quest to restore Richard The Lion-Hearted (Norman Wooland) to the throne stolen by his evil brother, Prince John (Guy Rolfe). But with all it's feats of derring-do, this version is also a tender tale of love. Robert Taylor stars as the intrepid Saxon knight-errant Wilfred of Ivanhoe, who is charmed by not one fair lady, but two; the stunningly beautiful Rebecca (Elizabeth Taylor) and the stately Saxon princess Rowena (Joan Fontaine). In striking contrast to this romantic feast, there is the malevolent Sir Brian De Bois-Guilbert (George Sanders), Ivanhoe's deadly enemy and constant threat. This film features some very authentic looking and spectacular fighting sequences and is sure to become a favorite film of students of 12th-century English history. Filmed entirely on location in Great Britain, this movie is very rich in detail, including costumes and weaponry. Very representative of the Metro Goldwyn Mayer classics, this is a very good film somewhat typical of the film making of this decade, but still good enough to be enjoyed in modern day. If you somehow missed this one, give it a look; An excellent movie !!!

Very Good Rendition of the Sir Walter Scott Classic Tale!
Robert Taylor and Director Richard Thorpe team up for their first of two (Knights of the Round Table in 1953) epic tales of noble knights and beautiful damsels in this well made adaptation of the 1819 Sir Walter Scott classic, nominated in 1952 for three Academy Awards, including Best Picture. It is, of course, the classic retelling of one man's, Wilfred of Ivanhoe, quest to restore Richard The Lion-Hearted (Norman Wooland) to the throne stolen by his evil brother, Prince John (Guy Rolfe). But with all its feats of derring-do, this version is also a tender tale of love. Robert Taylor stars as the intrepid Saxon knight-errant Wilfred of Ivanhoe, who is charmed by not one fair lady, but two; the stunningly beautiful Rebecca (Elizabeth Taylor) and the stately Saxon princess Rowena (Joan Fontaine). In striking contrast to this romantic feast, there is the malevolent Sir Brian De Bois-Guilbert (George Sanders), Ivanhoe's deadly enemy and constant threat. This film features some very authentic looking and spectacular fighting sequences and is sure to become a favorite film of students of 12th-century English history. Filmed entirely on location in Great Britain, this movie is very rich in detail, including costumes and weaponry. Very representative of the Metro Goldwyn Mayer classics, this is a very good film somewhat typical of the film making of this decade, but still good enough to be enjoyed in modern day. If you somehow missed this one, give it a look; An excellent movie !!!

MGM's Superb Version Of The Sir Walter Scott Classic
There have been many versions of Sir Walter Scott's classic 1819 swashbuckling story "Ivanhoe", over the years but few of them come near MGM's well crafted and rousing 1952 version that reteamed the two Taylors (Robert and Elizabeth), for the second time. This version benefits greatly from being filmed on location in England, taking full advantage of the nature terrain which gives this film such an authentic feel and flavour. It marked another late career triumph for veteran MGM star Robert Taylor who was fresh from appearing in the blockbuster "Quo Vadis", in Rome when MGM sent him this time to England to take the lead role of Sir Walter Scott's heroic character fighting injustice in the medieval England of Prince John. This film has everything the swashbuckler fan could ask for, daring sword play, a beautiful leading lady, wonderous recreations of 12th Century England, and stunning action sequences filmed on the largest outdoor Castle set ever constructed by MGM while it had a studio in England.

The adventure story of the dashing knight Wilfred of Ivanhoe who champions the cause of the absent King Richard the Lion Hearted while he is away with the crusades is well known to most school age children but this film version is no mere comic book characterisation. Robert Taylor found a real niche late in his career playing these hero's of early English history and in "Ivanhoe",he is perfectly cast as the dashing knight who not only fights the wrong doers trying to steal King Richard's throne, but finds time to romance two beautiful women in Saxon princess Lady Rowena (Joan Fontaine), and the lovely young Jewess Rebecca (Elizabeth Taylor). The opening of the film finds Richard's throne usurped by his younger brother the wicked Prince John (Guy Rolfe). While returning from the Crusades Ivanhoe discovers that King Richard far from being dead as his brother would have the country believe is actually being held for ransom in Austria. Returning to England Ivanhoe finds the Saxon's under siege from Prince John and on a visit where he attempts a reconciliation with his estranged father Cedric (Finlay Currie)he sees first hand the work of Prince John and his follower Sir Brian de Bois-Guilbert (George Sanders). After an attempt is made to rob one of his father' guests the elderly jew Issac of York (Felix Aylmer) Ivanhoe becomes acquainted with his beautiful daughter Rebecca who pledges her jewellery towards King Richard's ransom. Entering a jousting tournament hoping to win the prize money to free Richard, Ivanhoe comes up against his mortal enemy Sir Brian de Bois-Guilbert and is heavily wounded. He is taken to Rebecca's house to recover however Sir Brian not only seeks to destroy Ivanhoe but wants to take the lovely Rebecca as his own. In an attempt to flee Prince John's forces both lady Rowena and Rebecca are captured by Sir Brian who takes them to the Norman fortress where he imprisons both Isaac of York and Ivanhoe's father Cedric. Ivanhoe gives himself to Sir Brian in return for the other release but he is betrayed and imprisoned with the others. Sir Brian however hasn't counted on the Saxon's revenge and soon the castle is undersiege. Despite an attack which sees the castle taken by the Saxons Sir Brian manages to escape with Rebecca who is then put on trial for supposed witchcraft. When it looks like Rebecca will be burned as a witch Ivanhoe arrives to her defense and offers to settle the verdict by one to one combat with Sir Brian. During the fateful contest Sir Brian is killed and just in time King Richard arrives home to claim back his throne displace the usurper Prince John. The conclusion sees Ivanhoe reaffirm his commitment to the lady Rowena despite his obvious attraction to the younger Rebecca.

Nominated for an Academy Award in 1952 for Best Picture this was one of MGM's biggest productions for the year and no expense was spared on sets, colour photography and action sequences. Robert Taylor was so successul in this role that MGM assigned him to play Sir Lancelot in "Knights of the Round Table", the following year to be also directed by Richard Thorpe. Rarely has Elizabeth Taylor appeared more beautiful than as the young heroine Rebecca. Hers is an interesting role which thankfully presents a sympathetic jewish character into the story. Elizabeth herself never wanted to do this film and was always scathing of her own performance here passing the entire film off in interviews as "just a big medieval Western". That really doesn't do the film justice as it is first rate entertainment of the old school. George Sanders and Guy Rolfe make superb villians and Sanders indeed manages to breath extra dimension into what could have been simply a one dimensional villian with his playing opposite Elizabeth Taylor in particular. The spectacular jousting scenes and the siege of the Norman castle are sequences rarely bettered in these type of films and every effort was made to give the film the correct period feel. The costumes by Roger Furse and art direction supplied by Alfred Junge really enhance the atmosphere and authentic historical look of "Ivanhoe" making it one of the better thought out historical adventures from the 1950's decade.

First class entertainment is provided all the way by MGM's "Ivanhoe", and as an example of what the studio could produce even as it went into decline in the 1950's it is top rate. The two Taylor's would never appear together again on film but they make a most interesting screen team and "Ivanhoe", boasts the sort of supporting cast in Joan Fontaine, George Sanders , Emlyn Williams and Finlay Currie that makes me wonder where the equivalent talent is in Hollywood today. Enjoy Robert Taylor fighting evil in 12th Century England in this wonderful version of Sir Walter Scott's immortal "Ivanhoe".

Same Category as The Adventures of Robin Hood
Why is this movie not released on DVD???? Does the studio have any plans on releasing soon???

A Beautiful Movie
I saw this movie in 1952 when I was 7 years old. Years later I bought the Laser disc and am dismayed there is no DVD.There have been many swashbuckling movies but this is the best. It is a ripping good story, poignant as well. Beautifully filmed! Robert Taylor Joan Fontaine and Elizabeth Taylor are superb-as is George Sanders. I have shown this film over and over again to my children and they love it. It is romantic without being vulgar. It has plenty of action" without being gruesome. It has character. And lest I forget a wonderful musical score. ... Read more

Reviews (41)

Powerful, though altered, version of the play
Tennessee William's play, "Cat on a Hot Tin Roof", was considered so controversial that its Broadway producers forced the playwright to alter the third act. Either in spite of or because of the changes, the play was a huge hit. Even with the changes, it had to be further watered down for Hollywood's 1958 movie version. Once more, it was a boxoffice smash. It went on to garner six Oscar nominations, including Best Actress for Elizabeth Taylor and Best Actor for Paul Newman. Despite the industry's timidity back then, the movie was a searing, powerful drama about a family in crisis. That it remains so to this day, despite massive changes in social values and mores over the years, is a credit to its brilliant cast and to its director, Richard Brooks.

Brick and Maggie [Newman and Taylor] have come to his father's big plantation in Mississippi to celebrate the old man's 65th birthday. Everyone calls him Big Daddy, and as portrayed by Burl Ives, he truly is a larger than life figure. Brick's brother, Gooper [Jack Carson], his wife, Mae [Madeleine Sherwood], and their five 'little no-neck monsters" are also there. Big Daddy has just returned from several weeks at a clinic where he was treated for cancer. He thinks he is cured, but the doctors have lied to him. He's unlikely to see his next birthday. Rivalry and intrigue abound among the siblings and their families as everyone fights over who will take over the plantation. Brick has major problems of his own. The former star athlete drinks too much, refuses the advances and affection of the gorgeous and calculating Maggie because he blames her for his best friend's suicide, and is bitter about his father, who doesn't seem to love him or anyone else. Brick is also hobbling around on crutches, having recently tripped while trying to leap a hurdle one drunken night. Through all the bickering and fighting, his mother, Big Mama [Judith Anderson], tries desperately to hold onto whatever happiness and dignity the family still possesses. But a storm of confrontations is brewing, and she's powerless to stop it.

The 'shocking' element that was changed was the revelation that Brick and his friend had been lovers and that Maggie's 'crime' was her attempt to eliminate her rival. This was changed to the friend's killing himself because he was weak. I think when you know this, you can easily see what is going on underneath the surface between Brick and Maggie. It also makes the characters more understandable and believable. Their constant fighting makes more sense. The story becomes about more than greed, power, money and land. It becomes about the power of the human heart.

"Cat on a Hot Tin Roof" is highly recommended, script changes notwithstanding.

Every line filled with tension, and the acting is wondeful!
This adaptation of a Tennessee Williams play was nominated for six academy awards in 1959. It stars Elizabeth Taylor as Maggie, rejected over and over by her alcoholic husband, Brick, played by Paul Newman. His father, Big Daddy, played by Burl Ives, has just returned to his Mississippi mansion after exploratory surgery. There's bitter rivalry in the family as they speculate about his death. Jack Carson plays the older son, who, with his pregnant wife, played by Madeline Sherwood and their five obnoxious children are determined to inherit Big Daddy's fortune. But Big Daddy despises him, as he does his own wife of 40 years, Big Mama, played by Judith Anderson.

As this film was originally a play, most of it is sharp and cutting dialogue, every line filled with tension and double meanings. Close-ups reveal the artistry of the actors, all of whom are excellent. I especially liked Burl Ives, whose performance called for a wide range of emotions, showing his vulnerability as well as his strength. And as the characters battled with each other, the story, which I understand was rewritten to fall within the guidelines of 1950s censors, slowly revealed itself. Some critics say this ruined this movie adaptation. I can't comment on that because I though the story was great. Most of the film takes place inside a house and there's almost no physical action. Not necessary. The dialog does it all. And it does it well. Recommended.

Humanity at it's best...
"Cat on a Hot Tin Roof" is a spectacular visual masterpiece about the human spirit.
Every character has three dimensions, and every line is perfectly written and delivered. Credit is needed for the original playright(although I am aware the plot was altered to please the strict critics of the time), who along with the screenplay writers are as important as the actors.
Speaking of actors, Liz Taylor, Burl Ives and Paul Newman were all flawless in their roles. They were human, and as a painting they were more real than reality. My opinions of the characters changed continually throughout the film. It was as if you were peeling away the skin layer by layer to find the truth. Annoyance turned into hate, hate turned into compassion.
The most important element of this film was feelings;emotions the players have, and have to deal with. As well as how you feel about them, and their situations.

Superb
Acting doesn't come any better than this. Newman and Taylor have such chemistry its unbelievable, and although the movie may drag in certain parts, overall it is a great character study.
Taylor is heartbreaking as the sexually deprived wife as Newman, a hardened man who suspects his wife of infidelity. Once again the theme of homosexuality is present ( as it is in all of Williams' plays), but in the movie it is thankfully downplayed and subtle. The definitive film version of the play, whose highlights are pretty much every scene in which Maggie and Brick are alone in their room bickering.

MEEEOOOOW!
"Cat on the Hot Tin Roof"
Has so much tension, one can't cut it with a machete... Just another very dysfunctional family, which Tennessee Williams writes so brilliantly.

You have Maggie (the cat) The only character in the extended family who is 'Normal' The only one who seems to be keeping the family from killing one another. Liz, of course plays her beautifully, superbly, very sexy as 'The Cat'

(Brick) Paul Newman plays her husband...A drunk with many devils he needs to let out, such as why he will not sleep with Maggie, why won't he stop thinking about his foot-ball buddy who killed himself. The viewer will wonder if his has other preferences... Because who wouldn't sleep with (The Cat)??

Big Daddy...played by Burl Ives... The GOD of the family, the one with all the money, Power, the one who's dying. (Excellent performance)

(Goober) Brick's brother and his wife wait impatiently for Big Daddy's fortune. The wife is appalling enough to make one sick. Continually taunting Maggie about not having children, having a bad marriage, not controlling Brick. Her kids run around the house like little, foul animals.

This family is a disaster waiting to happen...The pressure cooker is on high, baby, and when she blows
Watch out...All hell will break loose all over the place.

They don't make um' like this anymore.

MEEEEOOOOOW! ... Read more

Amazon.com essential video

Liz and Dick (a.k.a. Elizabeth Taylor and Richard Burton) almost seemed to be importing the psychodramas of their marriage into this 1967 film (of course, the same was true of every film they made together). Adapted from Shakespeare's play and directed by Franco Zeffirelli (Romeo and Juliet) with his usual eye for sumptuousness, this version of Taming features a particularly boisterous, bawdy, fun performance by its stars. Composer Nino Rota--best known for scoring several of Fellini's best-known works--received a National Board of Reviews award for his vivid soundtrack. --Tom Keogh ... Read more

Reviews (31)

This Shrew Remains Untamed
It's very difficult to be very critical of such a roisterous, good-natured version of Shakespeare's rowdiest play, and in truth one has to admit that this is probably the first of the truly modern Shakespeare films. There are some real assets here -- Zefferelli's eye has never lighted on a landscape more beautiful, more seductive, and Nina Rota's score fits beautifully.

But Shakespeare, even on film, stands or falls on the acting. This version -- with one exception -- is filled with one-note performances (they're very GOOD notes, but single notes nonetheless). Let's deal with the exception first -- Elizabeth Taylor is a delightful, intelligent Katarina. Her development is exactly what Shakespeare obviously intended, and if her early scenes are a bit uniformly shrill, the case could be made that that's what the Bard wrote. In general, she's an admirable Kate.

Burton, however, is something else entirely. Despite his acknowledged skill with Shakespeare (his Hamlet was glorious), he takes a monochromatic approach to Petruchio, with an annoyingly stagey laugh running through virtually every scene. By halfway through the film, you tend to want him to get off screen so you don't have to listen to that "manly" laugh any longer. Unfortunately, much of Kate's dialogue was cut (the assumption being, I suppose, that Taylor would have trouble with the language) while too much of Petruchio remains.

The secondary characters, if cut from different bolts of cloth, are all a single color. Michael Hordern bumbles his way through Baptista the same way he did in countless other movies. Michael York and Natasha Pyne as the young lovers are efficient and attractive, but not particularly engaging. The suitors are a group of living cliches. Even the humor is raggedly overdone to the same degree in almost every scene.

There are things to appreciate in this movie, and there's no better Shrew available, but I'd recommend finding another of Shakespeare's comedies until a better version of this rowdy comedy comes along -- someone's bound to get it right soon.

An excellent movie to add to your collection!
This Shakespearean story is about the daughter of Baptista (Michael Hordern), Katarina (Elizabeth Taylor). Very unlike her younger, quiet and gentle sister Bianca (Natasha Pyne), Katarina is strong-willed and has a nasty temper. Many men want to woo the lovely Bianca, including a young scholar (Michael York), but Baptista is adamant that nobody will be wed with his Bianca until the older daughter, the shrew Katarina, is married. And there is only one man who is willing to marry her for her dowry, Petruchio (Richard Burton). When Petruchio and Katarina are wed (forcefully against Katarina's will), Petruchio proceeds to make his 'dear Kate' into a good wife, but is anyone capable of 'taming the shrew'?
A remarkable tale by the talented and famed writer, William Shakespear. And with a delightful cast of Elizabeth Taylor and Richard Burton, who can resist liking it? Elizabeth Taylor practically shines in her role! Especially at the part in the end where she makes her strong speech. I was as quiet and attentive as all the guests at the wedding.
For anyone who likes Shakespeare, who likes Elizabeth Taylor, or Richard Burton, or for that matter, want to watch a good movie, watch "The Taming of the Shrew".

More Fun Than A Barrel Full Of Burtons
A rollicking feast for the eye, ear, and funny bone, Franco Zeffirelli's "The Taming of The Shrew" is a tour de force for Richard Burton and Elizabeth Taylor. This pared down version of William Shakespeare's play is a fit morsel for anyone suffering from a fear of the Bard. It's fast pace keeps things going and with a cast of well-known British stars the whole thing is served up to delectable visual perfection.
Richard Burton blends his fabled abilities as a Shakespearian genius with his star power to give us a ribald and loveable Petruchio. This is one of his crowning moments on the screen and we are lucky to have this record of Mr. Burton at his very best.
Elizabeth Taylor is a comic revelation in this, one of her jewels in her acting crown. At the time the film came out, many scoffed at the idea of a mere movie star taking on the challenges of Shakespeare. Miss Taylor rises to the challenge and shines as a stunning, sexy and very funny Kate, in fact she more than rises to the occasion, she shows her command of the medium of film and her understanding of comic timing. The wedding scene is a pure Zeffirelli invention. If you didn't know better you would swear that it was part of the play, it is so well done in faux Shakespeare. Elizabeth shines in this scene. In the final fifteen minutes when she delivers the famous "Lord and Master" speech she is triumphant as she submits to her man. At the same time we know that she is the one who holds all the cards and in the off stage end will rule the roost from now on, all the while letting poor Petruchio think he is king.
The chemistry of Burton and Taylor is pure dynamite that explodes in riotous color across Zeffirelli's Renaissance canvas. Highly recommended viewing, especially if you are new to Shakespeare. It's more fun than a barrel full of Burtons!

The Bawdy Bard !
"The Taming of the Shrew" is a delightful romp, and very entertaining, even for people who do not normally go out of their way to watch Shakespeare. I can imagine serious scholars rolling their eyes at the liberties taken here, and the "star turns" by those two icons of 60s Hollywood, Elizabeth Taylor and Richard Burton.

However, for most of us who basically just want to be entertained--and I suspect with this play, that was the bard's intent--this version is good fun, robustly acted, and with lovely sets and costumes, a feast for the eye. One suspects that Ms. Taylor had a ball, hurling insults and various pieces of furniture at her real-life, on-again off-again, spouse. It looks like Mr. Burton had a good time too, although one frequently has the impression that this was a "well-lubricated" performance !

The supporting cast is fine, with a pleasant film debut for Michael York. As usual, Zeffirelli gives us a film that is gorgeous to look at--and I'm not just referring to Ms. Taylor !
The DVD has a certain haziness to it, but this may be the way that Zeffirelli intended the film to look.

"The Taming of the Shrew" today, of course, is about as "politically incorrect" as a piece of literature can be. While women will find this film amusing, the idea that the female spirit should be "reined in" like that of a wild horse, will cause some discomfort to feminist viewers, I'm sure.

Nevertheless, this film is highly entertaining, and might give younger viewers an idea as to what all the Taylor/Burton fuss was about. Recommended.

Burton & Taylor Are Pure, Fiery, & Feisty Sex Magic
No wonder Burton and Taylor married and divorced many times. The sexual tension between them in this film can be cut with a knife. Taylor plays Kate, the beautiful, fiery, feisty, mean-spirited, unloved eldest daughter of a wealthy man. She has a beautiful & kind sister who has a string of beaus, but... the eldest sister MUST marry first. Enter Burton as Petruchio. Loud, boisterous, dirty, obnoxious and SEXY! He plans to tame Kate, marry her and be a rich man on her dowry. The famous tongue in the tail speech is given on their first meeting, which sets the mood for lusty, sweaty, swarthy fighting. All the while, the sexual tension builds throughout. Many fights & torments ensue... with a beautiful ending that I will not spoil. If you like Elizabeth Taylor, Richard Burton or just the great and powerful Bard, himself, this is a great movie, directed by the great Franco Zefferelli that is a must see! "There is no other beast on Earth so horrible as man..." (Katharina, Taming Of The Shrew) ... Read more

Amazon.com

Culled from 30 years of material, this collection of moments from The Tonight Show Starring Johnny Carson contains some of most inspired bits of lunacy ever recorded. Whether cajoling with Hollywood's biggest stars or normal folk with special talents, Carson was a master of finding the right joke, with timing second to none. Along with bits of his opening monologues, skits, and early standup appearances from the likes of David Letterman and Eddie Murphy, there are many highlights with perhaps the perfect Carson guest--exotic animals that stole the show. This collection was released shortly after Carson's reign ended in 1992. Although most of the tapes of his first decade are lost, there are plenty of highlights from the '70s through the '90s. Also included is Carson's touching and historic "Final Show," which finds the host simply talking to his audience and showing highlights--or just the faces--from his years on the set. Although many followed--and a few have even succeeded--Carson's Midwest charm made him the king of TV in a period when America was defined by television. --Doug Thomas ... Read more

Reviews (16)

The Man Behind the Desk
In today's era of David Letterman and Jay Leno, younger generations should remember that Johnny Carson (along with his "Tonight Show" predecessors Jack Paar and Steve Allen) defined the talk-show format which made late-night television an enduring and immensely profitable enterprise. From 1962 to 1992, Carson reigned supreme as a comedian and broadcaster. Unlike Letterman and Leno, Johnny did his homework when it came to nightly conversation. No matter who sat on the couch, he remained an astute and observant host. "The Ultimate Johnny Carson Collection" is an expanded three-DVD set of "Tonight Show" highlights selected by Johnny himself, with the welcome addition of his final two programs. The set also includes the 1982 NBC special "Johnny Goes Home" -- a nostalgic, affectionate look at Carson's return to his hometown of Norfolk, Nebraska. Loaded with extras (and some recently discovered film clips from the early 1960s), the DVD collection provides first-rate material at a reasonable price. If this set leaves you wanting more, the six-DVD "Timeless Moments" series is highly recommended -- allowing viewers to see previously unavailable Carson monologues, interviews and sketches in their entirety.

Still the King!
As one of the millions that sorely miss the wit and wisdom of Johnny Carson, I was especially pleased to receive this "best of" DVD collection. The three DVD's feature the best moments from the show - divided by decade - from the 60's through the 90's, and also include the complete second-to-last show (with Bette Midler and Robin Williams) and the final show, along with a documentary on Johnny I had never seen before. The remastering quality is great. There is a fun little short film called "Danger Johnny", and one of the most interesting things about the DVD's are the ISO CAMS, that allow you to pick the camera angles to view some of the programs. You can even view scenes from Johnny's perspective. The menu options are terrific, and the packaging very deluxe. If you are a fan of classic television, this is a great addition to your library - and I plan to send them as gifts to family members I know miss Johnny too.

Disappointed
I was disappointed with this set. It doesn't give you a sense of what made you love Johnny, really. There is minimal development of the material. A couple of gags would be OK, but gag after gag left me feeling empty. Maybe Johnny is not the right person to toast with snippets; his charm came from watching an entire show, or was built up over months, years. Likewise his skill as an interviewer is lost in the short clips. Had I known, I would have taken on a pass on this purchase. Furthermore,the production is rushed and uncreative.

There will never be another...
Watching this set of dvds left me with a sense of melancholy and loss. Like spent youth and good times/people gone by. This will not... it cannot... ever happen again. Carson was a master of the Late Nite format in a very special time in our history. It was a time when true stars walked the Earth. Real S*T*A*R*S like Dean Martin, Bob Hope, Jimmy Stewart, John Wayne, etc. would show up on the Tonight Show to trade quips with Johnny and we knew that we were in the presence of greatness... not foul-mouthed little Irish gits like Colin Farrell whose every second utterance is a four-letter swear-word, or the assorted giggling bimbos and boring, scuzzball, here-today-gone-tomorrow boy bands who frequent the Leno show. This rather pricey 3-disc extravaganza will take you back home and leave you wanting more. BEWARE though! The set is advertized as over 7 hours long and that is not the case. Here is the breakdown: BEST OF THE '60s & '70s (48 mins), BEST OF THE '70s & '80s (46 mins), BEST OF THE '80s & '90S (52 mins), JOHNNY GOES HOME (47 mins), SECOND LAST SHOW (32 mins), FINAL SHOW (35 mins). I work it out to just about 4 and a half hours on 3 discs. Mind you, the packaging, picture quality and menus are superb. Definately worth a purchase, but my advice would be to shop around for the best price.

Will Never Be Equaled
A wonderful look back at 30 years of late night class. It just goes to show what an awesome talent Johnny was and how far late night TV has declined. The picture and sound quality is excellent, and the extras are good, too. Johnny's 1982 special where he visits Norfolk is fun to see again as well. My only gripe is that the music montage from the last show is missing, but this probably has to do with getting all the clearances from the artists, which can be difficult. Highly recommended for all us baby-boomers who grew up with the one and only King of late night. Johnny......WE MISS YOU!!!!!!!!!!!! ... Read more

Amazon.com

Peril lurks behind every scene resolution in the 1946 hitCourage of Lassie. After an odd, peaceable-kingdom beginning, Lassie isshot by Carl Switzer, the kid who used to play Alfalfa (really!), and rescued by Elizabeth Taylor. She inexplicably names Lassie "Bill" (maybe in revenge because Lassie got on the movie's title) and trains him to be a sheepdog. Bill gets hit by a truck, then impressed into service in the U.S. war effort in the Philippines.Presaging Rambo, Bill becomes a war hero, yet returns home from the front a broken dog and is considered a menace to society. The war scenes are a bit too grueling for a family film (at least with very young children). Bill gets shot (again) and has to do a reconnaissance mission that Joseph Conrad would admire. Taylor doesn't so much act as sob and gush, and only Frank Morgan, the actor known best as the Wizard of Oz, comes off as well as the collie. That collie, though, is pretty wonderful and fans of the first film won't be too disappointed. --Keith Simanton ... Read more

Reviews (2)

The courage of Bill
The Courage of Lassie has beautiful scenery but from the beginning it already has problems. Mainly the first fifteen minutes has to do with Lassie's life in a forest. The attention span was gone. Elizabeth Taylor, the reason why I watched this, is a supporting character to the dog. It's supposed to be the other way around. It's not even Lassie. Sure the title says so and it's the same dog but in here Lassie is playing a dog named Bill. Besides isn't Lassie supposed to be a girl?

A Beautiful Film
This film is simple and spans alot of territory for one beautiful dog. However, it is refreshing to see this type of movie with such a message of gentle caring, and loyalty between an animal and it's owner.

Films aren't made like this anymore, and while this it is not academy award material, I enjoyed every minute. I can't wait to share it with my elementary school aged, Grandchildren. ... Read more

Reviews (9)

Could Have Been Worse But I Don't Know How
I saw this in the theater in 1978 after having seen it on stage in its national tour. What a disappointment! When the line "If she'd only been fat" was sung, the audience laughed. Liz was pretty plump, and she couldn't sing. She slaughtered "Send In the Clowns". Hal Prince elmininated the quintet and all of their wonderful songs. What was he thinking? I did enjoy the rewrite of "The Glamourous Life" and some new lyrics for "Weekend In the Country". All in all, though, the best part of the evening was when it ended.

such a disappointment
I knew the score, but had never seen A Little Night Music, when I discovered this video at my library. I was so disappointed with the majority of the film. There is somewhere a filmed stage version of a New York City Opera production that is much much MUCH better. I was bored with the movie, and sometimes I wondered why I was even bothering to watch it. It is terrible.

Some of Sondheim's best music...
No Sondheim fan should be without this video. I know the arrows have been sent Elizabeth Taylor's way for this performance (And Singing!) but she's good in this role. Her singing voice is not supposed to be great as the role was written for Glynis Johns [Mrs Banks in Mary Poppins] Maybe a little unbelievable but certainly not bad. All of the acting appears a little more "stagey" than most movies should be but you're seeing a lot of legendary performances. Diana Rigg is excellent as is Lesley-Anne Down [both at the top of the beauty curve in this film]... and to miss the greats like Hermione Gingold and several others from the original Broadway cast (including the original Sweeney Todd, Len Cariou) would be a sin! All of the music is written in variations of 3/4 time so if you love a waltz, you'll love this movie.
P.S. If the PBS version is ever released, get that too. It is the closest thing to the Broadway version so you can get an idea of what it's supposed to look like on stage. That particular version is a little heavier on singing ability than acting ability

ONE OF THE WORST MOVIE MUSICALS EVER MADE!
Based on Ingmar Bergman's great sex comedy, Smiles of a Summer Night, the stage version of A Little Night Music remains one of the greatest musicals ever written by the genius Stephen Sondheim. The production broadcast live from Lincoln Center in the 80s starring Sally Ann Howes was lovely, if somewhat overwrought. What everyone seems to forget about this, due largely to its beautifully lilting operetta score, is that the story is really about sex under the birch trees.

On film, the story is a complete disaster. To begin with, the setting has been moved from Sweden, the land of the Midnight Sun, to Vienna to coincide with its operetta styling.
The whole theme, similar to Shakespeare's Midsummer Night's Dream, is negated. The screenplay further cuts the role of the Grandmother, an aged coutesan wise in the ways of love, played so deliciously by Hermoine Gingold, to almost nothing, and takes away the card game which sets up so much of the background material.

A lot of talent is wasted in this film, and as lovely as Elizabeth Taylor is as Desiree Armfeldt, she should have been dubbed, because she positively ruins "Send in the Clowns." (Listen to Barbara Cook sing it on her Carnegie Hall album). Because Harold Prince is so dreadful a filmmaker (in spite of his theatre and opera success) he destroys the final scene, in which the summer night smiles three times, the third time on Gingold as the old who knows too much. A long shot takes away the visual sequence in which we learn that she's died.

What a pity that such a beautiful show should make so dreadful a movie musical. Do yourself a favor: get the delightful Ingmar Bergman comedy instead!

"CLOWNPLAY"
BASED on Ingmar Bergman's "Smiles of a Summer Night" [according to rumor Sondheim wanted 'Ring Round the Moon' couldn't get permission] - this is the merry mix-up [the musical is lighter than the original movie] of a mis-matched May/December marriage, a semi-suicidal son, a best friend's 'duel-obsessive' husband, a beautiful actress, a young love child .... and an elderly Grand dame who seems to know all!!! ADD a 'week-end' in the Country - and you're there.

It's a well-spirited movie, but doesn't quite leave it's mark except for Dame Diana Rigg ["Every Day A Little Death"] as Miss Taylor's Best Friend! Stellar performance. The rest plods.
Excellent Art direction and costumes though. ... Read more

Reviews (4)

Excellent early Elizabeth Taylor adult role
I've always loved this film. I constantly feel that it is unfairly dismissed as a jungle soap opera but it has so many very good things going for it. I feel it was a very important early adult film role for Elizabeth and certainly gives an indication of all the stunning roles coming up for her soon like "Giant", "Cat on a Hot Tin Roof", "Suddenly Last Summer" etc. She gives here an excellent performance and absolutely holds her own against Dana Andrews and Peter Finch.
The look of the film is spectacular and Elizabeth has never been more lovely. I wont retell the saga of Elizabeth replacing Vivien Leigh here again as other reviewers have mentioned it already, bu tthe film does benefit from the stunning on location photography in Ceylon which adds richly to the films quality. Abraham Soefar has a superb role as the mystical and haughty man servant who at first despises but then grows to appreciate Elizabeth's character through plague and then of course the spectacular elephant stampede at the finale which is without doubt "Elephant Walk"s most famous scene. It is a stunner and well worth the wait.
I highly recommend "Elephant Walk" for all of you who, like me, love Elizabeth Taylor and know what a fine actress she is. An excellent film to sit back and enjoy....they don't make 'em like this any more!!

A great film!
I really like this film. It has everything in it, adventure and drama. Elizabeth Taylor wears ome very beautiful clothes in it as well. The scenery is great to. I'd give it more stars if I could. It really keeps your interest.

ELIZABETH REPLACED VIVIEN
The casting of the female part in this film was a shaky one. Firstly, Taylor was cast but lost the part due 2 pregnancy. Then Vivien Leigh got the part(the industry shocked that she would accept this film - truly a programmer) and persuaded lover Peter Finch to undertake the male part. Vivien suffered severe breakdowns on location in Ceylon and was eventually fired. Taylor came 2 rescue but thanks to Vivien`s scenes didn`t have 2 go to Ceylon and shot her scenes in Hollywood. So it`s Vivien Leigh u see in the longshots in the location footage. A windmachine threw a splint into Taylor`s eye which supposedly could have been fatal. On the whole, an exciting film with a rousing finale concerning the title of the film. A must-see. Strangely, Taylor seems 2 be at her best in her not so-famous-parts.

A very underrated film and a good early adult role for Eliza
A very entertaining film with the elephant stampede at the finale a real stand out. Elizabeth Taylor is excellent in a early mature role. Beautiful color photography on location in Ceylon. Well worth purchasing ... Read more

Reviews (108)

An engrossing and as legendary as the real story.
A monumental achivement and a powerful milestone that changed hollywood forever , not only is this film as big and legendary as the true life story , the true life story ended this movie this film the story is endless from the massive production to the sweeping love story that it gave on and off screen with Liz Taylor and Richard Burton is in many cases as legendary as the love affair between Antony and Cleopatra.Huge massive sets and authentic locations and an powerful cast of it's time such as Rex Harrison as Julius Ceaser,Richard Burton as Mark Antony and Roddy Mcdowell as Octavian but at it's heart Liz Taylor in the role that made her the dream of every man Cleopatra who held the power of two nations in the palm of her hand.

This still hold the worlds record as the most expensive film ever made 45 millon at a time when you could spend 2 millon on an epic and still get something grand but many drawbacks and waste and script rewrites , directors getting tired and producers fed up and many times a sick Liz Taylor ,it also holds the record for the largest sets ever built. At the hights of the Roman Empire and the Egyptian Empire, Julius Ceaser a respected Ceaser and general wars to make and expand the greatness of Rome, after the battle little does he know that while he may conquer countrys there is one thing he cannot conquer the love of his neighboring Egyptian Queen and ruler of Egypt Cleopatra who is feirce and ambitious and seducting and uniting Rome and Egypt as one she will do that at all costs even if it means loving a Ceaser and bearing him a son.But when both nations are locked into war and famon , The Roman senate decides that Julius is no longer capable of being a Ceaser so they , assasinate him.Cleopatra alone and not fufilling her dream she meets the beloved Roman General Mark Antony and is immidiately swept into another love affair from a Roman but Antony seemingly betrays Egypt and strikes Cleopatra's anger and frustration now hated and decived by Rome Antony is once again engaged in war with announced Ceaser Octavian as Antony wars at Actium he must endure a terrible defeat.

But as the movie ends in a almost Romeo and Juliet style as Antony dies in the hands of the only thing to him that was worth fighting for Cleopatra , when she realizes how much Antony loves her she causes her death and is bit by a serpent and dies before Octavian can capture her alive.

An amazing film , a legendary film sprawling in intrigue and betrayal and lust the DVD contains a two hour making of the film and a legend that almost bankrupted 20th century fox if Cleopatra was made today it would cost twice as much as TITANIC to make.Cleopatra was a virtual flop and badly tanked at the box office but this movie is good because it manages to bring a legend to life with unserpasssed and powerful brillance few Hollywood films can do today.Not even reacent 2001 Best Picture winner Gladiator is as big in scope and scale everything is just small next to this film the will live in the annels of film as the story will live in egyiptian lore for centurys to come an specticale worthy and awsome film.

Hey 20th Century FOX: RESTORE CLEOPATRA!
I think Cleopatra is the best movie ever made, it is also the most expensive movie ever made costing twice more than Titanic in today's money, but it just didn't make it to the screen. Intended to be two movies, Caesar and Cleopatra & Antony and Cleopatra, three hours each. But partly because of the attention of the famous Taylor-Burton affair, Darryl F. Zanuck shamelessly ruined Cleopatra from its 6-hour two movies into ONE 3 hour 14 minute movie, which is the TV version, which is Horrible! But luckily, the 4-hour version, this DVD version, survived the brutal cutting of the film. This movie is the most beautiful movie I have ever seen. The sets, clothes, props, and music... they are just FLAWLESS! As many people know, Rex Harrison as Caesar and Richard Burton as Antony both got nominated for Best Actor at the Oscars, but because the movie was cut to one, they were nominated against each other in the same movie, and more importantly, their best scenes were cut because of the length, so none of them won (but they deserve to), and Roddy McDowell got nominated in the wrong section and his votes were canceled. Martin Landau was going to be nominated as Best Supporting Actor, but after the film was ruined, the Academy Awards dropped him. Elizabeth Taylor's best scenes were cut off that she was so angry she puked at the Premiere.

The Music of the film is the BEST. Till this Day, I don't know why the Oscars didn't give Cleopatra the award. Of course, Oscars didn't give Gone with the Wind, Gladiator, and lots of other film's beautiful scores the Oscar, it's weird.

How do I know about all about Cleopatra? I have ALL the books, interviews, and even the full movie shooting script of this movie, I am the biggest fan! If you have seen the movie, you'll realize that Cleopatra was usually unhappy and tense. But there is a happy side of her, for example, there was a scene where Cleopatra, Antony and her son with Caesar were in the garden, Cleopatra watching them play swords. Then Caesarian, the son, stubbed Antony with his wooden sword and Antony cried out in "pain", and Caesarian suddenly went crying, saying "don't die, don't die!" Antony suddenly comes back to life and tickles Caesarian, then drags Cleopatra into them and they were all laughing and rolling on the floor... it was so happy, and that's one of the many sides of Cleopatra that's been cut off.

In the four-hour version, we first see Cleopatra dumped out of a carpet. That was NEVER intended to be the first scene we see Cleopatra. From the script I learned that there was a whole story of Cleopatra outside Alexandria, and she and the others planned to meet Caesar and how to sneak her in. Just after they got to the Palace, some soldiers almost caught them and the maid had to lure the guards away... it was thrilling to read the pages of the script! There are sooo much to saying about what Cleopatra should have been, but sadly, no one expect FOX has the missing footage, and they are the best scenes of the movie (some scenes were so humorous that I laughed out loud!).

In the late 70's, 20th Century FOX called a recording session to record the lines of the movie so they can restore it, since the sound elements were missing. But it was called off at the last minute. But the three-and-half hours of missing film footage was NEVER lost! With today's technology, they can totally restore the film back, including the sound. They also have the missing part of the unused scores, but why doesn't FOX, after making a two hour documentary about the film, restore it? No one knows! Movies like "A Star is Born", "Lawrence of Arabia", "Sparticus", and many other classic movies has been successfully restored and loved by many. Why not Cleopatra? I am writing just to let you know the truth about the movie, and hopefully, if more people know maybe FOX will restore the film to the intended way. In a Late interview with four-time Oscar winner Joseph L Mankiewicz, the director and screenwriter of the movie, when the subject Cleopatra went up, he literately cried (on TV!). He said he wanted the film to be perfect that he bit his nails until they were bleeding that he had to wear gloves when he was writing the script... He called Cleopatra his "butchered masterpiece". But however, it's still one of the best movies out there! Totally worth buying!!

FOX: PLEASE RESTORE CLEOPATRA BEFORE IT'S TOO LATE, BEFORE THE FILM ROTS OR A STUDIO FIRE AND BURNS THEM TO DUST, LIKE FOX'S 1917 VERSION OF CLEOPATRA!

THE BEST FROM OLD HOLLYWOOD
Although Miss Taylor is no match compared to Vivien Leigh in CAESAR AND CLEOPATRA; this i s by far the best epic from old Hollywood - and the most entertaining..... Enough said. Ok, I can`t shut up; the arrival of Cleopatra into Rome is a masterpiece in itself... and the choreography is by the renowned Hermes Pan:-)

Spectacular Film About a Powerful Woman
"Cleopatra" is a great film released in 1963 about rise and relationships of the woman herself played by Elizabeth Taylor. This five-time Oscar winning spectacular film gives a rise to audiences of all kinds. Its beauty is never to be forgotten. The hard work and dedication placed onto this film shows greatly. Such film quality answers why it's since become a highly remembered classic. Its brilliant plot follows the emotional path of Cleopatra through her rise in power and her life turbulances. The emotional value stands greatly beyond the spectacular surroundings. This doesn't distract from the many history details expressed. The love themes are romantic as any great love classic. The sense of loss and struggle, namely losing those closest to her and trying to stop the wars from erupting, are greatly present.

All five Oscar wins were won for the spectacular surroundings that continue to amaze audiences after forty-one years: costume design, art direction, special effects, sets, cinematography. Few other films from the classic days was as elaborate as "Cleopatra". The multi-million dollars spent was worth it. The backgrounds are accurate desplictions of the actual Ancient Egypt and Ancient Rome. The buildings and the structure styles are amazing. The wardrobes are accurate to the actual styles worn by the characters. The elaborate costumes, namely the ones worn by Cleopatra, are unforgettable. This set a record for most costume changes by an actress for one film, 32, which would take 33 years to break ("Evita", 68). The make-up work blends perfectly with every costume.

Elizabeth Taylor's role as Cleopatra is unforgettable. Her previous research of the subject is present. More perfect is the Oscar nominated role (Best Supporting Actor) of Caeser played by Rex Harrison. His expressions of love and life turbulances greatly improve the movie's theme. All other actors also play their roles wonderfully: Richard Burton, Martin Landau, Carroll O'Connor, and others.

"Cleopatra" is a great classic film that will continue amazing audiences for many more years. This will leave them with an unforgettable experience. After viewing, those looking for more should also watch the bonus features, which have a lot of interesting details behind the film.

One of the best epics ever made!
I can't really add much to some of the wonderful reviews I have read about this DVD set (the 5 Star Collection). But I do want to say that if you love this movie or even just like this movie, the documentary that is included with this 3-disc set is worth buying this DVD set just by itself. It's one of the most entertaining and interesting documentaries I've ever seen on the making of a movie and all the interesting and strange events that happened while making the movie and after the movie. The movie is absolutely beautiful - the sets and costumes are magnificent - the money spent on this film is so obvious. I wish they would restore this movie to the director's original plan and put back the other half of the movie that was cut out! I would pay lots of money to buy a director's cut of this movie. But until that day comes, if ever, I highly recommend this DVD set. It's still one of my favorite movies of all time. ... Read more

Reviews (7)

Fascinating teaming of Elizabeth Taylor and Mia Farrow
There is something quite fascinating that continues to draw me back to repeated screenings of "Secret Ceremony". Whether it is the interesting and highly successful teaming of Elizabeth Taylor and Mia farrow, the almost surreal settings of the story or its very unusual storyline I'm not sure, perhaps it's a combination of all those things. Without a doubt it contains one of Elizabeth Taylor's finest, most underrated late 1960's performances just at the time when her Box Office standing was beginning to slip. She had only recently completed "Boom" with Richard Burton which was not successful and I feel as a result this film also suffered even though it is a far better production.

"Secret Ceremony" is set in London and tells the strange story of an wealthy but abandoned young girl Cenci (Farrow) who one day on a bus sees a woman who resembles her dead mother. Cenci in her disturbed mind feels it is her mother and "adapts" the middle aged prostitute Leonora as a replacement mother and takes her back to her strange home to play at being her daughter. Leonora has recently suffered through the lose of her own young daughter and sensing the girl's loneliness and her own unstable situation decides to play along with it and becomes actually attached to the girl in the process. Things become more complicated with the arrival first of Cenci's grasping aunts Hannah and Hilda (played by veteran actresses Peggy Ashcroft and Pamela Brown) who regularly come to the house to harrass Cenci and steal valuable items to resell in their run down antique shop, and secondly by the appearance of Cenci's unwelcome step father Albert (played by Robert Mitcham). As pyschological dramas go this is a winner and hints at many things in its story line such as lesbianism, child abuse and mother complexes. It certainly is not for all tastes which probably explains why rather sadly the film was not a success when released in 1968. What it does boast though are some excellent acting performances with great work from Elizabeth Taylor and Mia Farrow in particular. They have a wonderful screen chemistry together and indeed despite being savaged by the critics at the time I feel Robert Mitcham in his small role portraying a highly unlikeable character delivers great work and his confrontation scenes with Elizabeth have a real electricity about them.

Directed with flair by the famed Joseph losey, he enhanced the eerie atmosphere of this story with one of the great house sets that have ever been used in such a drama. Located in a leafy London suburb it is quite bizzare in its interior decoration and design and fits perfectly into the story. All Byzantine arches and coloured tiles and filled with macarbe dolls and music boxes it is both majestic and overdone which fits in perfectly with the bizzare storyline. Joseph Losey in all his productions always placed great emphasis on the settings of his stories to build the correct atmosphere and here he has excelled. It is hard to really fathom what time this story is set in so detached it seems to be from any sort of outside reality. Even the scenes shot at the beach resort in the off-season period have a strange almost funeral quality to them with misty seascapes and a general lack of people present.

Certainly like alot of Joseph Losey productions "Secret Ceremony" is an acquired taste. I can appreciate the fine acting by the leads and the strange offbeat story has alot to hold your interest. If you are interested in a compelling Elizabeth Taylor film from after her main period of Box Office stardom then "Secret Ceremony" is highly recommended.

certainly a well-kept secret....
having seen few films by either the magnificent ms taylor and/ or ms farrow, i was certainly impressed and would highly recommend this film to anyone who enjoys well-made classical psychological dramas. needless to say, the performances here are nearly flawless and i am actually surprised that neither actress was nominated for anything. i must say first of all that i am a lover of the strangest films and often campy ones too so this really was a true find for me. having read the other reviewers comments here, i can agree only so much with anything anyone has written here thus far. generally speaking, i am not fond of leonard maltin as a critic but i believe perhaps his review of this film comes the closest to carefully examining this exercise in psychological drama. secret ceremony can be disturbing at times in it's almost uncompromising depiction of tragedy and how we tend to cope with unbearable incidents. we find ms farrow here playing a young girl in her early twenties named cenci who has never truly accepted her mother's death. she meets lenora played by ms. taylor whom she almost instantaneously believes is her mother and two form a strange friendship. having lost a loved one in her life as well, lenora tends to feel sorry for the young cenci and agree to play "mummy" for her until the meddling aunts or cenci's sleazy, abusive stepfather appear. i didn't particularly find the breakfast scene between cenci and lenora to be repulsive. in fact, rather felt sorry for lenora off and on throughout the film and was glad to see her receive a nourishing meal. so what ?? ms. talor was beginning to gain a bit of weight but i still believe she looked radiantly beautiful in many scenes here. GREAT FILM AND VERY OVERLOOKED BY MANY.

Bizarre, lurid, voyeuristic psychodrama (and campy, too)
I first heard about this film on a radio call-in show in 1985, when I was 14 and *obsessed* with movies. Although I was in Illinois, the show was broadcast out of Philadelphia (WCAU-AM). The show was on from midnight to 5 am (CST), and it was hosted by a guy named Stephen Friedman. It was a call-in show where the subject was nothing but movies--and I swear this guy had seen ALL of them! Does anybody recall this show?? I just loved it!

Anyway, I was intrigued by a conversation he had with a caller on this film. They were talking about what a wild psychological drama it was, and that (at the time) there was basically no way to see the film in its original state. The film had not been released on video yet, and the TV print had been notoriously butchered to make it more "acceptable" for TV. The network (ABC?) even went so far as to shoot additional footage with psychiatrists explaining the sordid details of the story (a la "Psycho", perhaps). Well, I finally tracked it down. So after all these years, the wonder is over...

I can only imagine what I would have made of this film as a naive teenager. Even now I find myself creeped out by the horrible secrets of Mia's character, and by the painful emptiness of the soul of Liz's (this film would be considered bold even today; it's not tame by any standards). Mia's character seems a bit over the top, but I do believe there are people like that in the world. Her past traumas seemed to have led her to have a total lack of physical boundaries with people. As for Liz, she was moving at times, rather unpleasant at times (like in the all-too-real breakfast scene), and practically another character in others (like the fake British accent she adopts on occasion).

There is certainly an element of camp in this film. It doesn't dominate the film, so I wouldn't call it camp. But some of the dialog and sets are not to be believed. Liz croaks out some pretty bad lines, with my favorite being "that's too drab for a spring day--that should be worn on a day when it rains like p*ss!". Robert Mitchum, thoroughly repulsive as Mia's stepfather, gets some of the best (worst) lines, like his line to an overweight Liz, "I'm very fond of cows. Moooooo!".

I don't want to give away the plot, because the film is worth the time just to watch the story unravel and to enjoy the creepy atmosphere (full of baroque-y music, Mia's bizarre mansion, and constant dread). If you put the lapses into camp aside, you'll find it's not a bad psychological drama. You won't regret spending the time to check this unique film out.

Secret Ceremony: A first-rate psycho-drama.
I saw this film for the first time a few weeks ago, and I still can't stop thinking about it. "Secret Ceremony" is a truly fascinating psychological drama directed by Joseph Losey. It stars my favorite actress, the magnificent Elizabeth Taylor. In "Secret Ceremony", Elizabeth Taylor portrays Leonora, a thirtysomething prostitute who is befriended by Cenci(Mia Farrow), a girl who strongly resembles her deceased daughter. Cenci brings Leonora to her large, luxurious house where she starts calling the woman "mommy". At first, Leonora is opposed to acting as Cenci's mother, but she soon realizes that Cenci is a very troubled girl and decides to stay on and look after her. In time, Leonora starts to develop maternal feelings for Cenci, and the two women are then able to create a world of their own where they can live as "mother" and "daughter". Their private world is disrupted, however, when Cenci's lecherous stepfather(Robert Mitchum) enters the scene. This is a rich, strangely moving film that sticks with you long after it has ended. Elizabeth Taylor gives a stunning performance as the complex, emotionally damaged Leonora. It's one of her most daring roles, and Taylor handles it like the consummate actress that she is. As the waifish, deeply disturbed Cenci, Mia Farrow also delivers a top-notch portrayal.

Fascinating Liz Cult flick!
When this movie came out in the late sixties, I remember watching it in a freezing little theater in Fargo, N.D. and I was about the only person in there. I was horrified to see my Cult Queen Liz so heavy and plump and in some ways repulsive, when she's gobbling up the huge breakfast prepared by the really repulsive Mia Farrow--yes, Mia, of the simpering, cutesy, little girl, waifish idiot--and then belches. But I enjoyed a millions more when I recently watched it on TV here in Manhattan. I loved the incredibly furnished mansion where most of the action takes place. Liz is terrific--but still looks bloated. Mia is still repulsive--her whining, babyish voice, and halting delivery--inciting one to slap her. This is a haunting movie, though, and once you've seen it, you've got to study it again--primarily for the decor and furnishings of the London mansion and Liz's mod-English outfits. She actually looks like she's suffering from a terrible hangover throughout the filming--and in reality, she probably was. ... Read more

Reviews (1)

A Tough Act To Follow
Paul Newman and Geraldine Page are memories impossible to erase, so I came to this movie with all the prejudice you can imagine. But I was pleasantly surprised. It's by far Elizabeth Taylor's greatest performance in over 20 years, and Mark Harmon is much better in this than you'd imagine possible. All in all, it's a much more explicit version of Tennessee William's work, and perhaps more accurate into the bargain. Some chemistry is lacking, the supporting cast only go through the motions, but still - kudos to Taylor & Harmon! ... Read more

Amazon.com essential video

A word of advice: If George (Richard Burton) and Martha (Elizabeth Taylor) ever ask you over for late-night cocktails--pass. On the other hand, if you have the opportunity to see Mike Nichols's scorching film version of Edward Albee's sensational play, don't miss it! Elegantly photographed in crisp black and white by the great Haskell Wexler, the play has been "opened up" for the screen by director Nichols (The Graduate, Primary Colors) and producer-writer Ernest Lehman (North by Northwest) without diluting its concentrated, claustrophobic power. Taylor has never been better or brasher as Martha, letting loose with all the fury of a drunken, frustrated academic's wife on one crazy Walpurgisnacht bender. Burton plays her husband, George, the ineffectual history prof married to the college president's daughter. And George Segal and Sandy Dennis are young, callow Nick and Honey, who have no idea what sort of mind-warping psychological games they're being drawn into. Among the most successful theatrical adaptations (artistically and popularly) ever brought to the screen. The entire principal cast was nominated for Oscars--and Taylor, Dennis, and cinematographer Wexler won. --Jim Emerson ... Read more

Reviews (86)

Watch this movie if you want to be an actor...
If there is ever a film acting students must watch, WHO'S AFRAID OF VIRGINIA WOOLF? is it. Personally, I had no problem with the DVD. Burton and Taylor are simply marvelous in their roles as two seriously disturbed people who have been married for...much too long. Taylor won an Academy Award and Burton should have won (no disrespect towards Paul Scofield for A MAN FOR ALL SEASONS). Edward Albee's brilliant characters and writing is simply breath-taking. That is if you can take 2 1/2 hours of absorbing drama about four miserable people (George Segal and Sandy Dennis are also excellent as the guests). It is true that a film like this isn't for everyone. The negative reviewers concern themselves with the mood of the film...why would anyone want to watch 4 people yelling at each for over 2 hours...but that isn't a review, and people expecting a Disney version of Albee's play shouldn't be watching it in the first place. Real life isn't easy to watch. Albee's story about an alcoholic professor and his over-bearing alcoholic wife is not easy to watch. Instead, the viewer must watch the film as life-like art, and an example for all filmmakers to follow. Director Mike Nichols had it filmed in black and white (Haskell Wexler), and most of the original play (screenplay by Ernest Lehman) remained intact. In a day when your average movie-going experience involves empty-headed entertainment (Matrix, X-men, Hulk, American Pie, Dumb and Dumberer, etc. - you know what I mean), WHO'S AFRAID OF VIRGINIA WOOLF?, even if you need to be in the mood to watch it, is far easier to take in the long run.

Quite likely the best acting ever in one film
It's no small praise that Elizabeth Taylor's acting in this one at one time was taught in college acting classes, and she's at her best as Martha, the drunken, bawdy and disillusioned wife to then-husband Richard Burton's professionally and emotionally blunted college professor George. Together, Taylor and Burton subject two young neighbors, played stunningly by George Segal and Sandy Dennis, to a night of hell where the line between reality and vicious fantasy of cruel mind games isn't clearly drawn. Taylor, in a class all her own in this one, earned a second Oscar for her tour de force while looking every bit the deglamorized unfulfilled shell of a beauty goddess Martha undoubtedly was. Burton is as compelling in his viciousness that is George's life blood. He was Oscar-nominated as were Segal and Dennis with the latter winning Best Supporting Actress. Shot in black and white and centered in Martha and George's hell house, the intensity of the sense of being penned and the desire to run are urgent and, in the end, we leave George and Martha with a sigh of relief, hoping neverto return and a sense of pity for these two battered souls who, for whatever reason, gave up on life in favor of mutually assured destruction. Taylor is awesome: her performance her may well be the single best ever in cinematic history.

The Atomic Bomb in Your Living Room
The title of this film is derived from the classic childhood rhyme, "Who's Afraid of the Big Bad Wolf?" and is used to illustrate the immaturity of the characters and the fright of confrontation. The addition of "Virginia Woolf" into the title is not only a play on words, but a reference to the author's suicide - basically, the question asked is: who's afraid of going insane?

Apparently everybody. "Woolf" is an emotional roller-coaster of a film. The premise is simple: Richard Burton and Elizabeth Taylor are husband and wife. Burton is a somewhat washed up University professor, and Taylor is the University president's daughter. They invite the new math professor and his squeaky, drunkard wife over for a few glasses, which quickly turns into a few bottles, which leads to an escalated, violent verbal assault on everything the four characters hold dear.

Egos are shattered. Relationships are ruined. Children are murdered. By the end of the film, the actors sulk away to their dark corners, exhausted and fragile. The same happens to the audience. If there ever was a "draining" film, this one is it. You feel like you just watched your parents fight for a whole evening. You physically feel tired, upset, angry, sad ... just about every emotion exercised in the film is exercised on your well-being.

"Woolf" is based on a play by Edward Albee, which takes place in the living room. Mike Nichols, in his stunning directorial debut, ventures only a few places other than the living room, knowing full-well that the powerhouse performances by Taylor and Burton especially (as well as the most convincing drunk ever played by Sandy Dennis) will keep the audience captivated. All dialogue in this film, save for two or three lines, are directly taken from the play. Albee said the added lines were "all garbage" - but you won't notice.

This is arguably Nichols best film, and yes, I am including "The Graduate." The cinematography (glorious black & white by Haskell Wexler, who provides commentary on the DVD), the performances, the violence, the suspense, the mind-bender at the end ... everything about this film is absolutely perfect.

Note that this isn't just a marriage disaster film, and there's a great deal of intelligent humor involved. This film also broke censorship standards, with the passionate involvement of the then-married Taylor and Burton, and featured the very first "goddamn" every uttered. Without "Woolf," the perfect TV sitcom family would still exist today. Now deviant relationships in shaky households has become the norm for modern films.

Burton was shafted again by the Academy for this film, but Taylor won a much-deserved statuette, in what is called her best performance.

Check it out. You will not forget it.

Mike Nichols made his masterpiece with th