Liz Taylor et Richard Burton: Les amants terribles

... among those real lives -- that were so publicly replete with drama, drink, drugs, fame, fortune, travel, stage & screen, luxury, lust, affairs, and marriages (whew!) -- the movie has an appeal.

Partly, as a chance to catch a slowed-down glimpse into just one period of their lives.

Mostly, though, to experience Helena Bonham Carter's sublime performance as well as that of Dominic West. Their voices and mannerisms were spot-on.

I read that Helena was terrified to play the part of Elizabeth Taylor (understandable). But it seems then that fear is her muse because she was, quite simply, remarkable.

I wonder if Hollywood could tap her again for another Liz movie. There's certainly enough material for a series...

For a mere $70,000 a week (each), the now sober Richard Burton (Dominic West) is convinced by the not so sober, pill-popping, Elizabeth Taylor (Helena Bonham Carter) to reunite and star in a version of Noêl Coward's "Private Lives". He has other irons in the fire, not least an impending new wife and an opportunity of a lifetime to play "Lear" so isn't so keen but she is persuasive. After almost false-starting on night one, they duly turn up and though the critics absolutely loathe it, the fans initially throughly enjoy what they see as the real lives of these two stars being enthusiastically and acerbically presented using the stage as a conduit for their bickering. Burton is narked that it's his ex-wife fans want to see whilst she selfishly keeps on hitting the bottle. When the audiences do start to dwindle and the show is halted, the pair face the nearest thing either can imagine to a fait accompli - but do they care? It is entertaining at times with both actors looking like they are enjoying this once in a lifetime opportunity to play this torrid partnership with gusto and a tiny bit of venom. Despite their best endeavours, though, it looks like the producers were more concerned about it's rating, and the thing has a sterile tameness that lets it down a bit. They are going through the motions of a vitriolic and addictive relationship but it just doesn't land enough punches - physically or metaphorically. It's watchable, but nothing special at all.

In 1983 Richard Burton and Elizabeth Taylor appeared together on stage for the first and only time in Noel Coward's comedy PRIVATE LIVES. Although critically panned, it sold out for its entire run on Broadway, with audiences flocking to see the sight of two legendary figures bickering with one another. William Ivory's screenplay tells the story of that theatrical performance, focusing in particular on Taylor's (Helena Bonham Carter's) gradually disintegrating state of mind, as she realizes that Burton (Dominic West) has abandoned her for good in favor of his new wife Sally Burton (Cassie Raine). Bonham Carter gives a creditable impersonation of Taylor, even though she lacks that mysterious quality that kept Taylor in the public eye for so many years; in this performance, Taylor comes across as a bit of a hopeless drunk with a penchant for upstaging Burton. West's Burton seems like a dedicated actor; despite his love of money and the Hollywood high life, he never lost his professionalism, even in an obvious turkey like this PRIVATE LIVES, in which Taylor seldom knew her lines and often consciously departed from the script, in full knowledge that the audience didn't give a fig. So long as she appeared on stage, then the houses would remain packed; if she was absent, the box-office suffered as a result. In the end, however, both of them seem rather pathetic figures, mere shadows of their former selves at the height of their popularity during the mid-Sixties. We can't help feeling sorry for two actors who were so fond of the limelight that they never knew when to give up: Burton kept wanting to play King Lear, even though he was both physically and mentally ill-equipped to do so. BURTON AND TAYLOR seems like a requiem for two great stars reduced to mere museum exhibits.

Yup thanks to whoever thought of this. It clearly does not work however accurate the dialogue between them and the valiantly attempted body language was painfully unconvincing from two truly fine highly professional thespians who both strived to convince ?

Minutes prior to accessing this attempt i had for the first time, after all these years watched the truly fabulously produced, filmed and found myself mesmerized by them both in Cleopatra from 1963. As for this BBC attempt i noticed a modest reaction from viewers of a total of 10 not very impressive contributions ! Without having yet checked the number of contributions for Cleopatra, i am only guessing more than 50 minimum and i will check that true number of reactions later , ?

Short and sweet as possible, frankly this BBC attempt is not what i was hoping it would be .?

The DVD of this BBC film for television is yet to be released in the US so the first introduction to what is actually a very fine film was presented to the American audience in piece meal fashion on the BBC network: 7 minutes of story then 4 minutes of commercials then 7 more minutes of story, etc - for 2 hours. It grows wearisome to see two character studies so well sculpted cut up into a puzzle by commercialism's greed. The uninterrupted DVD should correct that flaw and will likely be a stunning experience. Richard Laxton directs a screenplay by William Ivory (no, not THAT Ivory family...), but the kudos for the success of this film go to Helena Bonham Carter and Dominic West who manage to reincarnate Li and Dick with consummate skill.

Elizabeth Taylor (Helena Bonham Carter) invites her ex-husband - twice married, twice divorced in one of the last century's most tempestuous and media focused couplings - Richard Burton (Dominic West) to her fiftieth birthday party where, as a recovering alcoholic, he refuses to get drunk with her. She obviously still retains her obsession and passion for him and suggests that they star in a stage revival of Noël Coward's play Private Lives that Liz is to produce. The agreement and announcement causes gossip with the press who speculate a possible romantic reconciliation. With a new girlfriend and the prospect of playing King Lear, Burton is not happy with the project, especially with Taylor's pill-popping and her lack of stage experience, which causes problems at rehearsals: Taylor has not even read the play before day 1 of the rehearsals. The play opens to a critical trashing but is extremely popular with audiences because they want to see Liz Taylor and, when she is ill, numbers dwindle and the show is put on hold. After a two-month run, with a projected tour, the curtain comes down and Taylor tells Burton she has always loved him and still does. Richard and Elizabeth go their separate ways, but they did sort out their differences and remain friends, and apparently they only communicated by telephone and letter, until his death in 1984. Taylor died in 2011.

The supporting cast, especially Lenora Crichlow as Liz' dresser Chen Sam and Stanley Townsend as the play's director Milton Katselas, is strong for the small amount of time they are on screen. The spectacle is the obsessive relationship between two very strong characters and fortunately both actors give excellent impersonations and recreations. We are allowed to see and understand their differences and frustrations.

Grady Harp