Miércoles de ceniza

Apparently, Elizabeth Taylor hated being called "Liz" but that didn't stop Mike Todd from naming his plane "The Lucky Liz", the plane that crashed and killed him. After his death Elizabeth leased a home in Tucson a few blocks from where I lived but she never stayed there the crowds were so bad. A girl I was dating happened to see Elizabeth at her girlfriend's home in Tucson and said she was more beautiful than you could imagine. The girlfriend's parents were Loews - the people who owned MGM and Elizabeth hid out at their home until she was able to leave Tucson. The house Elizabeth rented was owned by a customer of my dad's company, a TV sales and service concern, and it was quite posh but nothing compared to what Elizabeth was used to. Years later when I was working in the industry I would meet Elizabeth and her husband, Richard Burton, in Mexico. It was quite an experience. Rumor has it that Burton did not want Elizabeth to make this film but I am glad she did. In one scene after another she never looked so beautiful and that's really what this film is about - looking at the most beautiful woman in the world.

So I see Richard Burton hated this film. Well wouldn't go so far as to say I hated it. Still Ash Wednesday wil never rank as one of Elizabeth Taylor's best films.

It plays a lot like The Roman Spring Of Mrs. Stone. Maybe if someone like Tennessee Williams had written this it would have been better known and acclaimed.

Liz is in Switzerland for a little plastic surgery. A nip here, a tuck there and maybe some of that spark in her marriage to Henry Fonda will have some of that old time zip in it. She amuses herself in the meantime with both Keith Baxter and Helmut Berger.

The results just aren't what she hoped for,

Try as I may I just could not get interested in these rich people and their problems. Henry Fonda looked as bored as I was. At least he got a European vacation for his time.

For fans of the sars only.

The start of Ash Wednesday might put some people off, but do what I did and just fast-forward about ten minutes. There's an actual filmed procedure of massive plastic surgery, to show what Elizabeth Taylor's character goes through. We first see her with gray hair, jowls, bags, sags, and extra fat. Next, she's bandaged up and recovering in a European hospital, until finally she's revealed to be the beautiful star we all know her to be.

Why does she have such extensive surgery? Because, as we see through a series of photographs in the opening credits, she has grown old with her husband, Henry Fonda. In order to please him and rekindle their love, she thinks turning back time will help. While recuperating and waiting for him to see her anew, she spends time in a beautiful Swiss ski lodge and meets new people - including the much younger, handsome Helmut Berger (who thinks they're the same age). One of my favorite scenes in when she rebuffs his initial advances. He encroaches on her solitary dinner at their hotel, and at the end of the meal he doesn't object when she is brought the bill. She leans in close and seductively asks for his room number. Then, she triumphantly writes the number down on the bill to force him to act like a gentleman!

You might not have heard of this 1970s drama, but if you're a Liz fan, try and find a copy. You'll find a very endearing performance from Ms. Taylor. This isn't her usual role, for even though she looks exquisitely gorgeous, she doesn't feel that way on the inside. She feels old, frumpy, and afraid of not being good enough. When she's confronted by her deepest fears and Henry Fonda is as cold as he usually is on the screen, she crumbles to pieces. It's a very strong piece of acting, and Liz, her costumes, and her snowy surroundings are lovely to look at.

Kiddy Warning: Obviously, you have control over your own children. However, due to due to a graphic plastic surgery sequence, I wouldn't let my kids watch the beginning portion.

I lost track of this film after they pulled Elizabeth Taylor's face off, so I can't possibly divulge any plot points. (Okay, so it wasn't Elizabeth getting her face torn off, but it was somebody and it was SICK.)

The whole point to this film, as I understood it, was that Elizabeth Taylor's character Barbara is a superficial women who thinks everyone else is superficial also. Her marriage is on the rocks, so she automatically assumes she's getting ugly. Appearance isn't everything, Barbara dear. She is understandably shocked when her husband lets her in on that fact. He doesn't care if she looks like a troll named Brunhilde (which is how she starts off the film)--he just doesn't love her anymore. I thought he was a real twit, as he acts as if he couldn't care less about her and never did.

I get aggravated when Elizabeth Taylor's face is the centerpiece of a movie. The woman can act, but I have yet to meet anyone who realizes that. Movies like this mirror her real life to me. She has to look beautiful, and if she doesn't, she isn't a whole person. She doesn't function properly. (Small wonder she's had so many personal problems. Being a beautiful goddess all the time has to be difficult.) To me, Barbara Sawyer is a bit like Elizabeth Taylor. Her face seems to be her fortune, and she gets quite distressed if something happens to it. It seems unfortunate that Barbara (and possibly Ms. Taylor) place so much store by looking good. "My husband's leaving me. I'm not surprised, my hair looked awful today." That sounds unreal, but that is how Barbara acts. Even more unfortunate is how my whole review here is based on how she looks. Now I'm doing it. It just makes for a very pathetic individual, and maybe Barbara is supposed to be.

"Ash Wednesday" opens with a series of sepia-toned, fabricated photographs putting a young, glamorous Elizabeth Taylor together with a lean, dark-haired Henry Fonda; it's a great credits-sequence, well pulled off, until we find out that all this fancy living has taken its toll on poor Liz, portraying a lawyer's wife from Detroit (couldn't they aim higher than that?). Figuring plastic surgery is the only way to win back her estranged husband's love, Taylor checks into a Swiss medical resort and receives a full-body lift, later trading in her gauze and bandages for Valentino wraps and elaborate fur ensembles for a vacation at the local chalet. There's nothing remotely engaging about this scenario, except to see La Liz in a series of delectable wardrobe changes. We know that when Fonda arrives and sees her, nothing will be different (this is telegraphed far in advance). The picture was probably ahead of its time in depicting the vanity in men as well as in women, but Taylor and Fonda have a tough time creating actual characters (the writing being hardly more than a sketch). Liz has a nice moment asking Fonda to sing with her as they walk home, also a strong scene arguing with her daughter (Margaret Blye, who is well-cast; her eyes are almost as beautiful as Taylor's). But this fairy-tale-that-isn't hasn't much to offer aside from its surface attributes, which are photographed in a maddening series of subdued colors. ** from ****