{"id":14180,"date":"2011-03-24T09:00:55","date_gmt":"2011-03-24T13:00:55","guid":{"rendered":"http:\/\/www.moviefanfare.com\/?p=14180"},"modified":"2013-03-31T14:42:27","modified_gmt":"2013-03-31T18:42:27","slug":"elizabeth-taylor-remembering-her-film-legacy","status":"publish","type":"post","link":"https:\/\/www.moviefanfare.com\/?p=14180","title":{"rendered":"Elizabeth Taylor: Reflections in a Violet Eye"},"content":{"rendered":"

\"Elizabeth<\/a>A violet-eyed beauty who matured from child stardom into one of cinema’s most glamorous screen presences,\u00a0the caliber of Elizabeth Taylor<\/a>‘s\u00a0body of work has tended to be obscured by\u00a0the tumult from what has to be the most public private life ever. Born in London on February 27, 1932 to a prosperous art dealer and former stage actress who were in fact natives of Kansas, Elizabeth Rosemond Taylor’s family moved to Los Angeles when she was seven. Coached by her mother, she made her screen debut\u00a0at 10 in the\u00a01942 Universal comedy There’s One Born Every Minute.<\/p>\n

A subsequent MGM contract brought her a co-starring role\u00a0in Lassie Come Home<\/a>, paying\u00a0$100 a week for her efforts in 1943. The friendship Taylor forged with co-star Roddy McDowell was to last throughout their lives. Her next billed film appearance, alongside Mickey Rooney in the 1944 family favorite National Velvet, made her a star. Earlier that year, she appeared in Jane Eyre at Fox as young Jane’s sickly friend.<\/p>\n

A Lassie sequel was inevitable, and in 1946 Elizabeth joined fellow MGM studio player Frank Morgan in Courage of Lassie<\/a>, which updated the story to World War II. Years later, discussing her career, she remarked, “Some of my best leading men have been dogs and horses!”<\/p>\n

Taylor’s\u00a0adolescence was charted on the big screen through such enduring\u00a0pictures as 1947’s Life with Father<\/a>,\u00a0with William Powell as the title papa of four boys (one of whom\u00a0catches the eye of visiting Elizabeth), and\u00a0Cynthia, showcasing her character’s coming of age, falling in love, and coping with the struggles of life living in a small town. A Date with Judy followed in 1948, in which she met and made another lifelong friend, Jane Powell (They would eventually be maid of honor at each other’s weddings). Her role as Amy in the 1949 screen version of Little Women, alongside June Allyson, Janet Leigh and Margaret O’Brien,\u00a0remained a fan favorite for years to come. Liz’s first adult role came in\u00a0in the romantic suspense thriller Conspirator<\/a> (1949), where she learns her husband–British military officer Robert Taylor–is really a Soviet spy with orders to kill her.<\/p>\n

In 1950, she was the perfect bride-to-be in Vincente Minnelli’s Father of the Bride<\/a>, as\u00a0harried parents Spencer Tracy and Joan Bennett planned the wedding. Never\u00a0a studio to never miss a step, MGM scheduled the film’s release for two days after Liz’s real-life wedding to hotel magnate Nicky Hilton, with the advance publicity helping its\u00a0box office immensely. This union, her first of eight marriages, lasted only three months. A sequel was to follow in 1951 with the same cast, although Father’s Little Dividend<\/a> did not do as well. Paramount came calling with an offer for A Place in the Sun<\/a>, a film which brought her closer to another lifelong friend, Montgomery Clift. They met in 1949, when studio publicists asked Liz to accompany Clift to the premiere of his new movie, The Heiress<\/a>. She described Clift as “The most gorgeous thing in the world and easily one of the best actors.”<\/p>\n

\"\"<\/a>Young adulthood found her remaining busy in largely middling fare, and shuttling through her first two marriages, the second to actor Michael Wilding. Back at Metro, she appeared with Larry Parks in the comedy\u00a0Love Is Better Than Ever<\/a>, but by its 1952 release\u00a0Parks’ career was derailed by the HUAC\u00a0“black list” even as Taylor’s star was rising. Reuniting with Robert Taylor in 1952, Liz couldn’t have been more gorgeous or alluring in the Technicolor medieval epic Ivanhoe<\/a> as\u00a0Rebecca, a moneylender’s daughter. The next year, she was The Girl Who Had Everything<\/a>, the spoiled daughter of a wealthy criminal attorney who falls in love with one of his clients. It was a loose remake of a 1931 MGM drama, A Free Soul<\/a>.<\/p>\n

A quartet of films\u00a0followed\u00a0in 1954.\u00a0Rhapsody<\/a>\u00a0featured Taylor with Italian actor Vittorio Gassman–and boasted\u00a0a lush classical score featuring works from Tchaikovsky and Rachmaninoff\u00a0–in a tale of\u00a0a woman torn between two musicians. Following Rhapsody were Elephant Walk with Dana Andrews and\u00a0Beau Brummel with Stewart Granger. One of her most popular films is\u00a0The Last Time I Saw Paris<\/a>, in which she is an American ex-patriate living in Paris after World War II along with\u00a0Walter Pigeon, Donna Reed, and Van Johnson as her troubled husband.<\/p>\n

The mid-’50s found her beginning to consistently receive projects of heft. Liz ages gracefully as she and her husband’s lives unfold in George Stevens’ sprawling epic Giant<\/a>\u00a0(1956), co-starring with good friend Rock Hudson. Unfortunately, their co-star James Dean never saw the completed movie, as he was killed in a crash before it premiered. Her next film in ’56 brought her back together\u00a0with Clift in Raintree County.\u00a0Tragedy struck again during filming, when Monty was in a near-fatal car accident after leaving Liz’s home that made it difficult for him to finish the project. Cast and crew pulled through together, though, and she scored her first Academy Award nomination for the Civil War drama.<\/p>\n

Her happy third union with showbiz impressario Mike Todd ended\u00a0tragically with the producer’s death in a 1958 plane crash. The actress proved her resilience and channeled her focus into her best work, including Oscar-nominated turns in the Tennessee Williams tales Cat on a Hot Tin Roof<\/a>, opposite Paul Newman, in 1958 and Suddenly, Last Summer<\/a>, with\u00a0Clift and Katharine Hepburn, in ’59. It would be her next film, the 1960 drama\u00a0Butterfield 8,\u00a0 which finally won her the Academy’s Best Actress\u00a0prize. And for trivia fans, it marked the first and only time Oscars were given in the same year to\u00a0women playing prostitutes\u00a0(the other statue went to Shirley Jones for Best Supporting Actress in Elmer Gantry<\/a>).<\/p>\n

\"\"<\/a>It was during this period that her scandalous liaison with the married Eddie Fisher went public; within a few years, however, she’d be throwing him over for\u00a0Richard Burton, her co-star in the infamous 1963 costume saga Cleopatra<\/a>. Considered Hollywood’s most expensive film at the time (Taylor was the first actress to reach a million-dollar salary when she agreed to play the title role), the Taylor\/Burton publicity almost\u00a0 overwhelmed the project. “Liz and Dick” would be regarded as Hollywood’s golden couple for the rest of the\u00a0decade, with a string of collaborations (The V.I.P.s, The Sandpiper and The Comedians, among others)\u00a0highlighted by the groundbreaking\u00a01966 classic Who’s Afraid of Virginia Woolf?, which brought Elizabeth her\u00a0second Best Actress Oscar.\u00a0Their tongue-in-cheek\u00a0performances\u00a0in 1967’s\u00a0The Taming of the Shrew made it seem like Shakespeare was thinking of them when he wrote it. And later that year in\u00a0Doctor Faustus, Liz was\u00a0Helen of Troy, whose legendary beauty helped compel\u00a0Burton’s Faustus to\u00a0sell his soul\u00a0to the Devil in exchange for\u00a0her love. Away from the camera, the mid-’70s would find the duo divorcing, remarrying, and divorcing again within the space of two years.<\/p>\n

Liz shared her thoughts about meeting her twice-wed co-star. “Richard came on the set and sort of sidled over to me and said: ‘Has anybody ever told you that you’re a very pretty girl?’ I thought, Oy gevalt, the great lover, the great wit, the great Welsh intellectual, and he comes out with a corny line like that! But then I noticed his hands were shaking as if he had Saturday night palsy. He had the worst hangover I’d ever seen. And he was obviously terrified of me. I just took pity on him. I realized he really was human. That was the beginning of our affair.”<\/p>\n

In 1967, she joined friend Marlon Brando in John Huston’s Reflections in a Golden Eye<\/a>, and starred opposite Warren Beatty in 1970’s The Only Game in Town. Throughout\u00a0the 1970s and ’80s, Liz largely picked her spots for appearing before the camera, but\u00a0remained steadfastly in the press, usually due to various marital and wellness issues, but also for her consistent efforts on behalf of AIDS awareness. Notable entries from her latter-day resum\u00e9 include a 1972 filming of Dylan Thomas’\u00a0 Under Milk Wood<\/a>, which was narrated by Burton; X, Y And Zee<\/a>,\u00a0 an erotic\u00a0and controversial 1972 love triangle melodrama with Michael Caine and Susannah York;\u00a0 and the suspense\/drama The Driver’s Seat<\/a>\u00a0 in 1974.\u00a0The final “Liz and Dick” collaboration was a two-part\u00a01973 made-for-TV movie, Divorce His – Divorce Hers, that had people guessing if it wasn’t art imitating life (coming shortly before their first union ended). Taylor’s later films– the fantasy\/musicals The Blue Bird (1976) and\u00a0 A Little Night Music\u00a0(1978) and the Agatha Christie whodunit, The Mirror Crack’d\u00a0(1980), with old friend Angela Lansbury as Miss Marple–were minor successes. Meanwhile,\u00a0appearances\u00a0in the ’80s telefilms Between Friends, Malice in Wonderland and Sweet Bird of Youth kept her in the public eye…or ear, as when she voiced little Maggie Simpson’s first word (“Daddy!”) in an episode of The Simpsons.<\/p>\n

\"\"<\/a><\/div>\n

In 1985, she began her friendship with\u00a0music icon Michael Jackson. She was to say about Michael, “What is a genius? What is a living legend? What is a mega star? Michael Jackson – that’s all. And when you think you know him, he gives you more … I think he is one of the finest people to hit this planet, and, in my estimation, he is the true King of Pop, Rock and Soul.” And when her good friend died in 2009, she compassionately said, “I just don’t believe that Michael would want me to share my grief with millions of others. How I feel is between us. Not a public event.”<\/p>\n

Her final big-screen appearance was as Wilma’s mother in the 1994 live-action version of\u00a0 The Flintstones, and she made a fitting farewell to TV alongside Joan Collins, Shirley MacLaine and Debbie Reynolds in 2001’s\u00a0 These Old Broads, co-scripted by Reynolds’ daughter, Carrie Fisher.<\/p>\n

Elizabeth Taylor<\/b>\u00a0in Rhapsody: MGM’s Nod To The Classics<\/a><\/p>\n

\u00a0<\/div>\n","protected":false},"excerpt":{"rendered":"

A violet-eyed beauty who matured from child stardom into one of cinema’s most glamorous screen presences,\u00a0the caliber of Elizabeth Taylor‘s\u00a0body of work has tended to be obscured by\u00a0the tumult from what has to be the most public private life ever….<\/p>\n","protected":false},"author":26,"featured_media":14181,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[34],"tags":[1529],"coauthors":[1711],"class_list":["post-14180","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-staff-notes","tag-elizabeth-taylor"],"yoast_head":"\nElizabeth Taylor: Reflections In A Violet Eye<\/title>\n<meta name=\"description\" content=\"Elizabeth Taylor: Violet-eyed beauty was one of cinema's most glamorous presences. 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