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Reviews
The Taming of the Shrew (1967)
Review
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.
West Side Story (1961)
Review
West side story is undoubtedly the greatest musical picture of its time. Robert Wise and Jerome Robbins adaptation of Bernstein-Robbins 1957 Broadway musical transferred exceptionally well to the big screen. A breakthrough in musical film, West side story explores all sorts of modern issues such as street violence, gang warfare and racism which resulted in the United States Library of Congress labelling it as culturally significant. Wise's development of an originally Broadway musical to a motion picture was surprisingly successful. The broader array of techniques available to filmmakers enhanced aspects such as colour, created the fast paced dramatic atmosphere that captivated the audience. A contemporary urban adaptation of William Shakespeare's Romeo and Juliet, located on the mean streets of Manhattan, a long cry from the picturesque streets of Verona. Starring Natalie Wood and Richard Beymer in the lead roles of Tony and Maria, star crossed lovers from rival gangs and featuring enigmatic supporting actors such as Russ Tamblyn, Rita Moreno and George Chakiris the film boasts many outstanding performances. In particular the roles of Puerto Rican gang leader Bernardo and his girlfriend Anita were excellently portrayed by George Chakaris and Rita Moreno, earning them a well-deserved Oscar each for best supporting actor and actress respectively. Their riveting and fierce portrayals of a fiery couple outshone their leading counterparts. Richard Beymer, an unusual choice gave a rather stiff and unconvincing performance as Tony. Wood effectively portrayed the innocent and sweet Maria, as an American actress playing a Puerto Rican character she managed admirably. However, there is an evident lack of on screen chemistry between Wood and Beymer which results in an unbelievable pairing, and an unflattering imitation of the two greatest lovers of all time. Leonard Bernstein's score perfectly accentuates the drama and tension which permeates the picture. Coupled with Jerome Robbins compelling choreography, extravagant and dazzling musical numbers which avoid the constrictions of stage boundaries, the two build momentum resulting in a captivating experience for the viewer. The superb marriage between dance and song brings the film to life and gives a new lease of life to an old well-worn story and is the most attractive feature of the film. The colourful streets and even more colourful characters contribute to this fresh take on Shakespeare's classic tale. The storyline of this adaptation for the most part stays true to the original; Tony and Maria are the forbidden lovers, from rival gangs of different ethnicities. Marias Puerto Rican background adds another dimension to the musical, introducing a new and slightly more contemporary issue to the plot, the racial diversity and prejudice that exists between the Sharks and the Jets. For the most part the two story lines remain quite similar, although the tragic conclusion of West side story deviates from the original, perhaps in an attempt to reduce the tragic element of an otherwise rather upbeat picture.
West side story was well received upon its release by critics and public viewers alike, and it is easy to understand the appeal of the vibrant, dramatic and captivating plot and performance, which resulted in it becoming the second highest grossing film of 1961 in America. It was dubbed as "the best film musical ever made", by film critic Stanley Kauffmann. The picture won an astounding ten out of 11 Oscars it was nominated for, including Best Picture, Best Supporting Actor (George Chakaris), Best Supporting Actress (Rita Moreno), and Best Direction (Robert Wise and Jerome Robbins). Overall, I found West Side Story to be wholly deserving of its widespread acclaim and praise. For its tragic genre, the film manages to remain rather buoyant due to its musical and chorographical excellence. Whilst evidently an adaptation, it does not conform to such limitations and the modern twist and deviations from the original plot allow a fresh take which is appealing to modern day audiences. A mostly epic performance by its cast, I believe West Side Story is worthy of the title 'the best film musical ever made'.