Qui a peur de Virginia Woolf?

An undisputed classic that chronicles every appalling moment of a drunken night in hell as middle-aged George and Martha tear each other, and their guest, to pieces.

Elizabeth Taylor proves categorically that she was a truly great actress. Her Oscar-winning performance as the psychologically tormented Martha is one of the greatest performances in the history of cinema. Taylor's imperceptible shifting from sadism to tenderness, from bullying condescension to exhausted vulnerability, is a masterclass in character building. Martha is a truly monstrous character, and yet Taylor is able to imbue her with sympathy, allowing you brief glimpses of the warm and lovable woman she could have been.

Richard Burton is equally magnificent as George; an ageing, failing college professor whose initial meekness gives way to a raging torment all of his own. His verbal sparring with Taylor, like two pit-bulls in the ring of an endless and bloody dogfight, has become legendary. Every word drips with malice and contempt, every sentence is designed to cut the deepest wound. At times, it becomes painful to watch, but like true train-wreck television, you cannot drag yourself away from the inevitably terrible conclusion.

Quite possibly, this is as close to perfect as movies can get; beautifully written dialogue, deeply complex characters, an evolving and suspenseful storyline, beautiful photography, and a wonderfully understated score by Alex North. Nominated for 13 Academy Awards in 1967, but lost out to A Man for All Seasons and Born Free to win only 5.

"Who's Afraid of Virginia Woolf?" "I am."

"Who's Afraid of Virginia Woolf?" walks a tightrope between comedy and tragedy. But regardless of the laughter this dark comedy elicits, we can all agree on one unanimous opinion: it's utterly terrifying.

"Terrifying" is a term too light, a shade too gray to stand out amid the dazzling kaleidoscope of emotions within this film.

The story in "Who's Afraid of Virginia Woolf?" unfolds over one night, as one crisis compounds onto another. George and Martha are a middle-aged couple, clearly losing their affection for each other. After a university party, they reluctantly invite another couple, Nick and Honey, to their home. Under the influence of alcohol and the fatigue of the late hour, every conflict, disagreement, and hidden facet of George-Martha and Nick-Honey's marriages gradually unravel in the most damaging ways.

Virginia Woolf was a prolific writer whose style delves deep into the thoughts of each character, exposing the reality of who they are. "Who's afraid of Virginia Woolf?" can be understood as "Who's afraid of living without illusion?" Do you remember Martha's response to George's question at the end of the film? George places his hand on Martha's shoulder and softly sings, "Who's afraid of Virginia Woolf?" Martha replies, "I am, George, I am." It signifies the confrontation between reality and illusion. But who doesn't have moments of fearing reality and escaping into illusions? Yet, the illusion in their minds often remains separate from reality. Unlike Martha and George, who embed illusions into their daily lives too frequently, to the point where Martha believes them to be real. So when she hears news of her son's death, she cries not because her illusion has shattered, but out of pity for that blend of illusion and reality. Her son might have been an illusion, but her suffering was real.

The film's characters feel remarkably authentic as well. They lack the flamboyant personas we often encounter in cinema; they could be anyone, neither entirely virtuous nor inherently wicked, neither deserving of our sympathy nor our ire. They are simultaneously relatable and infuriating, each simply navigating their own slice of life. This authenticity injects a profound sense of realism into the narrative, stripping away any semblance of fiction. While their story may not venture into uncharted territory, the interactions and conflicts between these characters elevate it to new heights, especially the portrayal of Liz Taylor's Martha. Her fiery temperament, piercing voice, seething anger, resentful glances at George, the ceaseless flow of alcohol, the chain of cigarettes, and the tears-all of these elements contribute to the film's atmosphere of stagnation.

The film's gripping intensity can be traced back to its theatrical origins. In the world of theater, we anticipate climaxes, revelations, and resolutions. With each passing moment, tension mounts, growing increasingly oppressive until it reaches a point where we must acknowledge that it cannot be neatly resolved. "Who's Afraid of Virginia Woolf?" transcends the boundaries of mere cinema; it's an unsettling voyage into the delicate equilibrium between illusion and reality. Within its intricate layers, terror and humor seamlessly intertwine, crafting a cinematic experience that leaves an enduring imprint.

This is still an exceptional film from the 1960s. Though some of the epithets are obviously softening much stronger words, the language is frank and brutal, Martha's bludgeoning body-blows balanced by George's icepick thrusts. Edward Lehman's respectful screenplay gently opens up Edward Albee's one-set play while keeping a certain claustrophobic atmosphere. Mike Nichols' first directing effort is stunning in its lack of artifice; rarely do you feel that the director has done much more than turn on the camera and watch four actors, all at the top of their game, tear into their roles. George Segal's work in this movie is criminally underrated, but his reactive work as studly, ultimately disappointing Nick should be mandatory study by all young actors. Sandy Dennis' fluttery turn as mousy, wifey Honey is powerful also; a lot more is going on than you might think. Richard Burton is staggering as George ("Georgie Porgie Put-upon Pie"), and his performance demonstrates the magic that he could bring to a worthy role. Elizabeth Taylor's work here still astounds. The physical transformation she undertook to become aging harpy Martha is amazing enough, but her performance seems to channel a hurricane's force and fury. By turns hilarious, maddening and then, at the end, exhausted and defeated yet again, Taylor demonstrates acting, particularly film acting, at its best. The film is by no means easy or "Hollywood" in feel-- the audience is as exhausted as the characters at the end. But this was a bracing, necessary antidote to the impossible ideal of marriage usually portrayed in the movies. A towering film.

WHOS's AFRAID OF VIRGINIA WOOLF? is a drama film with the elements of black comedy, that on the violent and honest way indicates marital frustration and psyche, through the alcoholism, aging, cynicism and sterility. A dangerous double game becomes more intense and urgency with environmental changes. Simply, we are going through an intimate experience, which is seasoned with an excellent acting. The problem occurs in the moment, when we realize, how much is this experience, as a matter of fact, sincere and painful.

George, an associate history professor at a small New England college, and Martha, the daughter of the university president, live in an unstable and violent marriage. After they return home drunk from a party, Martha reveals she has invited a young married couple, whom she'd met at the party, for a drink. Their guests are Nick, a biology professor, and his wife, Honey. The hosts are engaged in a cruel verbal duel. The younger couple is first embarrassed and later enmeshed. After an evening of a sadistic, perversely hilarious and dangerous „clashes", a painful truth comes to the light.

Mr. Nichols keeping his camera close, so that, violent emotions, defeats and cramps on the faces of the actors come to the fore. The direction is excellent, because it is very difficult to draw the line between passion borders and boundaries of a nervous breakdown. The characters are lost in a futile and desperate struggle, which celebrates a kind of demonic love in an attempt to save a bad marriage.

The characterization is excellent and fully corresponds with sharp dialogues and gloomy atmosphere.

Elizabeth Taylor as Martha is definitely a major figure in this film with her acceptance of gray hair and her use of profanity. It is difficult to accept that such a beautiful face hides a violent and so crazed but again, fragile and deeply wounded character. Richard Burton as George is worthy as a her counterweight. He is not a victim, he is the husband who is tired of everything, while he tries to put all the things in the right place. The couple has offered an excellent performance.

George Segal as Nick is a young man who moves between confusion, arrogance and dominance in their relations. Sandy Dennis as Honey is his bland wife. She is not up to this unscrupulous game.

This is a brutal clash between unhappy spouses who move the boundaries of inhumanity, while they skillfully flee from the truth.

Who's afraid of Virgina Wolf? contains what I would call the most outstanding old school actor/audience experience I'ver ever seen. This movie is 131 minutes long and only contains 5 actors, on of which hardly gets any screen time and the two leading characters played by the famous couple Richard Burton and Elizabeth Taylor are on screen almost the whole time. Also this movie only contains a couple of locations so the whole project depends almost entirely on these two actors superb performance. The two of them fight almost the entire movie and it never gets boring for a second. Well, I gave this movie ten stars..... definitely a classic must see if you're interested in acting.