Divorce

Liz Taylor and Richard Burton star as an estranged couple whose lives have taken divergent paths following an acrimonious divorce several years earlier. The TV movie explores the impact of the separation from each other's perspective, Burton, a wealthy businessman in Rome sewing up a deal on behalf of his African company, Liz, juggling the care of their three children, each exhibiting different impacts of the separation. A great deal of postulating and ruminating is done about the travails of marriage, and time spent discussing 'what went wrong', people making, taking and declining phone calls, and a seemingly inordinate amount of time spent showing Burton in transit, clutching briefcase, looking concerned (or ambivalent, it's difficult to tell) in and out of Rome airport.

It's classic soap opera, and at over two hours, an epic one at that – mercifully, being shown in two parts allows for a much needed intermission, where you can decide whether you really want to return for more. Carrie Nye plays a promiscuous dalliance of Burton with whom he has a brief affair, while Gabriele Ferzetti is Liz's momentary Latin beau. Barry Foster has a prominent supporting role as Burton's associate and frustrated confidante, while some audiences might recognise ubiquitous West Indian actor Rudolph Walker (of "Love Thy Neighbour") in a small role as a businessman.

Given the locations (Rome/Munich), it's a shame there aren't more exterior shots, but then, this is a TV movie and much less a postcard than a long and sometimes tawdry account of the impact of divorce on all concerned. Nice music, but possibly more of interest to those who enjoy the Taylor/Burton collaborations; other audiences my find things a bit slow-moving and talky.

The real-life first marriage of the two stars is nearing its own point of divorce during the creation of this torpid film, the last wherein Richard Burton and Elizabeth Taylor are teamed, and this provides probably the only reason for watching what is at best an exercise in costly kitsch. Produced by the Welsh National Network, HTV Harlech, the work scripted by John Hopkins was made for television to be seen on consecutive evenings, ostensibly presenting first the standpoint of Burton's character Martin Reynolds and latterly that of Taylor's part - his wife Jane - as their 18 year marriage decomposes. As presented, the two seem to have agreed upon the general causes of the passage of events, as there is little variance between any of the scenes supposedly contemplated separately by the married pair and a lack of posture from the scriptor becomes a fatal flaw for the narrative. A large portion of the picture involves Martin's relationship with his employer, and since this requires continual global travel, marital strain ensues, with this intended ancillary plot regarding his career choice becoming the trunk of the scenario, instead of the union between Martin and Jane. Director Waris Hussein has a less than marvelous assignment in eliciting meaningful performances from Burton and Taylor, disastrously failing at it although Burton's innate intensity gives some life to most of his scenes despite the too often fatuous dialogue around which he seems too weary to ad lib. The excellent Italian actor Gabriele Ferzetti smoothly deals with a pallid part as Jane's latest lover, Carrie Nye emotes outrageously as the "other woman" and Barry Foster does well as Martin's sturdy adjutant, but we are never really shown why the couple's marriage is ending, a point not adequately addressed by scattershot plotting.

`Divorce His; Divorce Hers' would be a much better film if it were trimmed from three to two hours. In this effort, T.V. producers attempt to milk the then world shaking coup of nabbing the Burton's for a two-night event (Their first Movie made for television). But the cow ran dry at two hours. The story of a crumbling marriage is told first from the husband's point of view and then in the second half is told from the wife's. Much of the same ground is covered twice and much more interestingly in the second half.

Jane and Martin Reynolds live La Dolce Vita in Rome in the early 70's and after 18 years come to the slow and painful end of their marriage. Rome looks wonderful in the location shots in the Borghese Gardens, along the Via Condotti at night, and Piazza Navona. And attendant with the glamour of Rome the aura of the Burtons is well served in making the Reynolds seem impossibly rich. Notice that Elizabeth wears her Krupp diamond and the famous La Peregrina Peal necklace. No successful business tycoon of Burton's character's income could have afforded such lux baubles for his wife. Still in the early 70's the Liz and Dick glamour machine must be well oiled and the public at the time expected it. Some degree of disbelief would be suspend in anticipation of the Burtons because we somehow felt that what we were seeing less a drama than a simi-documentary about Elizabeth and Richard. And perhaps in some ways those films were just that. Richard Burton's performance is somewhat stiff and cool with flashes of Welsh temper to pepper his scenes. But, over all, he seems rather distant and not too interested in the proceedings. But on the other hand Elizabeth's excellent training in film acting over the years by the masters at M.G.M. comes to her aid in creating a warm fully developed and wonderful lady in Jane. She shines in particular in her scenes with the children and in her scene with Carrie Nye when she learns of Miss Nye's relationship with her husband. She is missed when she is not on hand to bring a little life to Mr. Burton's scenes. Miss Taylor shimmers in her own inimitable way and once again shows new comers and old pro's what real screen acting is about. The film is by no means great but not nearly as bad as some reviewers would lead you to believe. `Divorce His: Divorce Hers' is worth seeing for Elizabeth's solid work.

At the time, it was fun to watch every Liz and Dick movie they made together, but knowing they were divorced in 1974, it's not enjoyable to watch a movie in 1973 in which they play a couple in the midst of a terrible divorce. I'd skip Divorce His – Divorce Hers if I were you.

This is one of those movies that pretty much takes place over the course of a few days, but constantly flashes back in time. Usually, I find that kind of story annoying, and this movie is no exception. Elizabeth Taylor and Richard Burton play a bickering, tired, estranged couple who are getting ready to finalize their divorce. Liz has custody of their three children, and each of them are in different stages in anger towards their father. But, none of the kids are particularly likable, so my heart was not tugged in their direction. Liz acts like an understudy; if this was the first movie of hers you saw you'd think she was a lousy actress. Dick is plain cranky, like they've filmed too many takes and he just wants to go home. The script is boring. The so-called surprises are hardly worth the build-ups, and the arguments lack fire, punch, and interest. The pace is slow, and it's not even enjoyable for fans who wish an inside view of what went wrong with the famous couple's marriages. The characters are obviously dissimilar to their offscreen personas. Just skip it. Watch Who's Afraid of Virginia Woolf? instead.

"Divorce/His...etc, is for hardcore Elizabeth Taylor fans (as are most of her vehicles, post 1967) Here you find her in all her latter-day glory--over-the-top and inappropriate in every way. The script, if you can call it that, tells the tale of a longtime married couple (wealthy, of course) whose marriage is coming apart. It's a tale told from two perspectives, tho both are equally silly and poorly written. You can just skip Burton, he's a burnt out zombie here. (Liz n' Dick would separate for the first time shortly after this thing hit the airwaves. Burton looks more than ready!) But our girl Liz gives it her all. She approaches every melodramatic moment, every abysmal line of dialogue as if her life or an Oscar depended on it. Quibble if you will if she is a good actress--she is certainly not a lazy one! She enlivens the material with her baroque presence--the wigs, the jewels, the gowns. The wigs! And of course a drinking game could be made out of her fluctuating weight. In one sequence she visits her horrible children's rooms to scold them. She loses ten pounds between the son and the daughter.

Taylor looks good, stll quite the beauty. Her real problem is her proportions. Very short, very short-waisted and that enormous bosom. Dressing her must have been a challenge even at her slimmest. Here, Edith Head does some excellent work, but Taylor sneaks in a few monstrosites from her own closet--the mini dress/tent she wears in a flashback sequence, in Africa! (She's sporting a fantastically distracting bullet bra, and a gigantic pendant hanging between the famed bazooms. When she sits down, the dress hikes to her crotch. Anybody can act, Miss Taylor puts on a show.) So, it's like that. Taylor's wacky, sometimes stuttering-placing- emphasis- on- the- wrong- word line-readings are also worth a peek.The high point is Liz and Carrie Nye. Nye, who looks like a transgendered corpse, thank you very much, reveals to poor Liz that she (Nye) has had an affair with Burton. Liz, rather tanky in her blue silk penoir get-up, pushes Nye away (how Nye didn't land in the next country is a miracle) "Stop talking, stop telling! He must have been drunk. How could anyone have an affair with you, you're not even beautiful!" This truthful statement seems beside the point, but Miss T. couldn't have given this (and other whoppers) more gusto had it been scripted by Edward Albee.

So, you have been warned. If you like this sort of thing, try to get a copy of "X, Y and Zee" which is much better and when "Zee" is funny, it is meant to be. Liz--we love, ya, honey.