TrueJoshNight Truly Dreadful Film

Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

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.

m-naramore1 Often overshadowed by his most famous of love stories (Romeo and Juliet), there is no denying, in this most flamboyant creation of a dramatic comedy and romance, Shakespeare's The Taming of the Shrew is in comparison, highly unknown and unrecognized to the common world of today. However, in saying this, there is also one place where this story is indeed recognisable in many shapes and forms. Though it may not possess the same marketing value as that of Verona's famous pair of star crossed lovers, The Taming of the Shrew has always had an unusual popularity in the world of film. So much that it was this story to be the first put to the screen with sound and dialogue by Sam Taylor in 1929, which made it the first Shakespearian play adapted to film with the actual use of the language. Yet while Taylor's attempts are certainly admirable, there is simply no competing with a Franco Zefferelli production of Shakespeare. In true Zefferelli fashion, his 1967 adaptation is visually spectacular, and from the very first few minutes in, you are immediately captivated by the buoyant spirit and energy present within the streets of our fair Padua. Though Zefferelli is not completely faithful to the original script, it is barely noticeable and easily forgiven as he still remains so wonderfully loyal to the story in many other important ways. For example, through the use of exuberant music and bright costume, Zefferelli manages to intensify the vibrancy of the comical atmosphere as well as the contrasting character personalities. However, the most intensifying aspect to the film in itself is most definitely the acting. There is a clumsy and awkward unpredictability in the energy of the crowds that gather throughout the film. But this is also present in the behaviour of central characters, and there seems to be conflict almost everywhere. Even the little children who carry the train of Kate's wedding dress are fighting. Though this does give it a sort of pantomime feel at times, I believe Zefferelli's intention was to keep the arguments amusing rather than actually violent. Therefore, he chooses to tackle the destructive nature of the play in a way that is true to the story but still entertaining for the audience. A story so renowned for its daring and rambunctious nature, The Taming of the Shrew is truly unique to its time and setting. With a love/hate relationship present between our two central characters (who often seem more prone to violence than anything else) Shakespeare does extremely well in challenging the typical preconceptions of love and marriage between man and woman of the time. Therefore, in order to successfully give us the right balance of this vicious yet amusing relationship on screen, the director's most important task lies in finding the actors who are capable. This is something of which I believe Zefferelli succeeds in more than anyone. With his risky and bold decision in casting a couple almost as notoriously wild as their characters, Zefferelli like others before him, deemed only a real life marriage worthy enough to possess the experience and knowledge needed in order to truly do the relationship justice. The difference was that this couple excelled. The legendary Richard Burton with his long career of Shakespearean drama was the perfect fit as our tamer Petruchio. Although his then wife Elizabeth Taylor was not the most ideal choice as Kate, (with no previous experience of Shakespeare,) it was not her reputation as an actress that landed her the role of the shrew, but her reputation as a tenacious wife. I must admit, as a massive fan of Taylor, I found myself trying extremely hard not to be bias in judging her performance as Kate. Although it wasn't exactly an Oscar winning performance, especially in comparison to Burton as Petruchio, I found Taylor's efforts as Kate truly commendable. Especially after having to bare the close to mute version of her played by Mary Pickford in 1929, I found myself almost grateful for the over dramatic moments given by Taylor. There's no denying that overall Burton was the ultimate star, but I believe that without Taylor as his fiery Kate, the film could have never reached its full potential. This was primarily the reason why Zefferelli took the risk of casting an amateur like Taylor in the first place. He knew that without an independent woman who was just as capable of handling Burton, as Kate is in handling Petruchio, the film would fall flat. And so he bases his decision on the chemistry of the actors rather than the ability to act, as they are truly believable on screen and everything is very natural between them. For example when you see a furious Kate giving Petruchio that signature scowl from across the room, you cannot help but feel like they have exchanged this look a thousand times before. Overall, I found Zefferelli's 1967 adaptation of the Taming of the Shrew truly enjoyable. While the imaginative costume, music and architecture is signature to a Zefferelli creation, it was the rustling and energetic atmosphere of Padua so exceptionally represented that had me immediately enthusiastic from the very beginning. I also found myself extremely grateful for the length of the film, as the 1929 version disappointingly, just ran over an hour long. Though he will always be criticized by some for his decision to not stick to the original script, I believe that Zefferelli was faithful to Shakespeare in all of the important ways. His efforts in paying enough attention to the main characters were his greatest success. As he had learnt from Sam Taylor's mistakes before him in 1929, how that passion and chemistry could very well easily be the determining factor to the films ultimate rise or fall.

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.

Katherina_Minola This 1967 film, based on Shakespeare's play of the same name, was perfect for Elizabeth Taylor and Richard Burton, who were three years into their marriage when they made it.Due to the nature of the storyline (man tames independent woman and turns her into a meek and subservient wife), this is one of Shakespeare's most controversial plays, but it is also – for my money – one of his funniest. I consider myself to be a feminist, but that doesn't preclude me from enjoying this play immensely – and happily I loved every minute of this adaptation.Liz Taylor plays the wild natured Kate, and Richard Burton is the lusty, arrogant Petruchio, who determines to marry her for the dowry, and tames her by treating her badly – his methods include refusing to allow her to eat, turning up to their wedding in ragged clothes, and taking off soon after the wedding. However he starts to genuinely fall for her, and actually ends up being tamed himself.Burton was used to the classics, and had performed in Shakespeare adaptations prior to making this film. It shows – he fitted right into the part and carried it off with ease. Taylor had not done anything like this before, and was apparently very nervous. She certainly pulled it off – as beautiful as she undoubtedly was, I never really rated her as much of an actress, but she captured Kate's wild spirit, and later her more peaceful demeanour, perfectly.The supporting cast are excellent – a young Michael York is Lucentio, the man who hopes to marry Kate's sister Bianca, who is forbidden from marrying any young man until her sister is married, and Cyril Cusack is great as Grumio (Petruchio's friend), and Victor Spinetti as Hortensio – another potential suitor to Bianca – is extremely funny.The film is very colourful, and extremely witty, with genuine laugh-out-loud moments, and lots of physical comedy. I enjoyed it thoroughly from beginning to end, would certainly recommend it, and will definitely watch it again in the future.