Tag Archives: Richard Burton

Bluebeard-1972

Bluebeard-1972

Director Edward Dymtryk

Starring Richard Burton, Joey Heatherton

Scott’s Review #1,293

Reviewed August 23, 2022

Grade: A-

My expectations of Bluebeard (1972) were of a late-night foray into the world of weird horror. The story is loosely based on a French folktale of a nobleman with a curious wife forbidden from entering a mysterious room. I was anticipating an entertaining experience but nothing more.

To lower expectations, the critic reviews of the film were quite harsh, ridiculing and ripping upper-class actor Richard Burton to shreds calling this film the decline and fall of his career.

Instead, I was treated to luscious art direction created on a small budget and a fascinating, macabre story about a man nicknamed ‘Bluebeard’ (Burton) who kills each of his six former wives while revealing his dirty deeds to wife number seven, Anne, (Joey Heatherton) who he plans to kill.

We learn that Austrian aristocrat Baron von Sepper (Richard Burton) would rather kill his wives than divorce them. It’s the 1930’s and he is a decorated war hero with a secret or two. A lady’s man meets the most beautiful women but quickly becomes bored with them.

He hides their remains in a secret refrigerated room and Anne stumbles upon their corpses. Now, she must escape his clutches to avoid becoming his next victim.

Burton is famous for being the husband of Elizabeth Taylor and appearing in superior films like Who’s Afraid of Virginia Woolf (1966) and The Robe (1953) and was a much sought-after Hollywood star during the 1950s and 1960s.

By the time of Bluebeard’s making, he was a raging alcoholic and needed the film work. However, intentionally or not he is a fabulous addition to the film whether he was sober during shooting or not. He perhaps doesn’t even recall making it.

The most fun with Bluebeard is the anticipation. Once I realized the film was working backward and detailing each of Bluebeard’s six former wives’ murders I was hooked! Each murder is better than the last and poor Raquel Welch as Magdelena is locked in a tomb alive.

In the comical form, the actress plays a slutty nun.

One particular scene had me tickled pink. Bluebeard’s third or fourth wife, a gorgeous blonde who is a chatty ‘motor mouth’ and eager to dive into bed with her new husband, is decapitated via guillotine when she thinks she will finally become intimate with him.

It’s a fabulous sequence that I had to watch twice.

The decapitation scene is nearly rivaled by a titillating girl-on-girl scene between Nathalie Delon and Sybil Danning who plays a prostitute hired to teach Bluebeard’s wife how to enjoy the pleasures of touch and eroticism.

They quickly get naked and kiss.

Instead of being aroused as any straight man would, Bluebeard takes a shear to them impaling them to death one on top of the other. We then realize he is quite inadequate in the sexual department.

It should go without mentioning that folks looking for a PG affair need to look elsewhere. There are enough breasts bared to make the prudish blush mightily. The lesbian scene might leave them running for the hills.

No, Bluebeard is an adult venture for those desiring a healthy serving of female flesh with their bloodletting. The male actors are spared any nudity- that’s the way cinema was back then.

Heatherton does surprisingly well paired with Burton and the chemistry works between them. She is not a top-quality actress but she is appealing and we root for her to escape the madman.

The art direction is tremendous and reminiscent of the attention to detail and craft that Hammer Horror films were able to create around that same period. The velvet red walls in Bluebeard’s massive estate ooze with royalty and sophistication. Each table, chair, and set piece is perfectly placed.

Of course, Bluebeard is pure camp and over-the-top shenanigans but it’s a hoot all the way, never dragging nor taking itself too seriously.

I was pleasantly pleased by Bluebeard (1972) and consider it a must-see for Burton fans desiring some later works sans Elizabeth Taylor. It’s not high-art but it sure is delicious Saturday night fun.

The V.I.P’s-1963

The V.I.P’s-1963

Director Anthony Asquith

Starring Elizabeth Taylor, Richard Burton, Louis Jourdan

Scott’s Review #1,263

Reviewed June 4, 2022

Grade: B+

The V.I.P.’s (1963) is a sweeping drama set against a foggy London airport. It’s a very good film but hardly a masterpiece as the trials and tribulations of the stranded passengers are explored and sometimes intersect in standard ways.

The film is formulaic and offers little surprise but I enjoyed it and was entertained by the parade of stars shuffling through the vast airport.

Some stories are more interesting than others and the film has a soap opera style fixating on the glamorous and rich characters.

One wonders if The V.I.P.’s influenced the creation of the film Airport (1970) seven years later, but the film itself is patterned after 1932’s Grand Hotel both distributed by Metro-Goldwyn-Mayer.

Real-life couple, and Hollywood A-listers, Elizabeth Taylor and Richard Burton star and are the main draws of the film.

The all-star cast also features Louis Jourdan, Maggie Smith, Rod Taylor, Orson Welles, and the scene-stealing Margaret Rutherford.

Inclement weather has delayed a flight from London’s fabulous Heathrow Airport to New York City. A cross-section of elite passengers (V.I.P.s) impatiently wait to board the plane as they experience various life crises in the airport.

The main storyline surrounds Frances (Taylor), a gorgeous woman fleeing a loveless marriage to her millionaire husband, Paul (Richard Burton), and in love with the dashing Marc Champselle (Jourdan).

Supporting stories feature a dotty duchess (Rutherford) who has fallen on hard times, and a handsome businessman (Rod Taylor) trying to thwart a hostile takeover.

At the same time, his secretary (Smith) lusts after him, and Gloria (Elsa Martinelli), an aspiring actress accompanied by her money-grubbing producer, Max (Welles).

Despite the heavy-sounding plots the film is not overly severe and provides comical moments peppered in small doses. This secures the pacing and offsets too much doom and gloom.

The big soapy moments belong to Liz and Richard and rumor has it that the idea for the screenplay came to the writer Terence Rattigan by way of a real-life situation.

Actress Vivien Leigh was planning to leave her husband Laurence Olivier for another man but was delayed at Heathrow Airport.

How scandalous!

Nonetheless, Taylor stoically gives an acceptable performance as a conflicted actress in love with a man other than her husband. The setup plays out as tired as it sounds except for the juicy reality that Taylor and Burton were married and this provides the only interest.

Taylor and Burton have terrific chemistry though she also does with Jourdan. Still, there is something uncompelling and unsatisfying about the story.

Shockingly, they are all upstaged by Rutherford who steals the entire film which resulted in her surprising Best Supporting Actress victory. She may have won because of the Academy’s tendency to sometimes award an older actor with the prize for a lifetime body of work.

Her riveting story is my favorite as she desperately seeks a way to save her historic home.

The actress hits a homerun providing the much-needed comic relief and therefore the liveliest of the performances. Her peril is offset by her cleverness and her performance is filled with heart.

Many critics hastily insisted that Rutherford is the only reason to see The V.I.P.’s which I disagree with. Personally, the combination of an airport, peril, and big stars was more than enough to have me hooked.

The only addition that might have made the film better was an enormous fire or a hijacking crisis.

In the end, The V.I.P.’s (1963) will only appeal to fans of Taylor and Burton or those seeking something sudsy. Otherwise, the film is not too well remembered.

Oscar Nominations: 1 win-Best Supporting Actress-Margaret Rutherford (won)

The Sandpiper-1965

The Sandpiper-1965

Director Vincente Minnelli

Starring Richard Burton, Elizabeth Taylor

Scott’s Review #897

Reviewed May 12, 2019

Grade: B+

The Sandpiper (1965) is a film that stars Elizabeth Taylor and Richard Burton, released at the very height of their fame.

It capitalized on their notoriety as one of the world’s most famous couples and their well-known romantic tribulations. Although they portrayed adulterous lovers, they were married shortly before filming began.

The film’s theme of adultery closely mirrored their own lives at the time, as each very publicly conducted an affair with each other while married to other spouses.

The film is a lavish and sweeping production, one of the very few major studio pictures ever filmed in Big Sur, and the story is specifically set there.

Big Sur is a rugged and mountainous section of the Central Coast of California between where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery and is the perfect location for a film with romance.

The Sandpiper (1965) is a romantic drama perfectly showcasing the two stars’ chemistry in a pure case of art mimicking real life, at least in some way. Fascinating is to watch the actors work off one another and think in wonderment about what life would have been like on the set amidst the dreamlike and steamy locale and the fresh romance.

The story is not a dynamic piece and is quite sudsy and melodramatic and a case of the actors being the main reason to watch.

Taylor plays Laura Reynolds, a bohemian, free-spirited single mother who lives in Big Sur, California with her young son, Danny. Laura makes a living as an artist while homeschooling her son, who has gotten into trouble with the law.

When Danny is sent to an Episcopal boarding school, Laura meets the headmaster, Dr. Edward Hewitt (Burton), and the duo falls madly in love despite Edward being married to teacher Claire (Eva Marie Saint).

The melodrama only escalates as those close to the pair catch on to their infidelity.

The gorgeous locale of Big Sur is second to none and exudes romance and sexual tension with the crashing waves against the mountainous terrain symbolic of a passionate love affair. As the characters capitulate to each other the lavish weather only infuses the titillating experience.

Taylor is lovely to look at throughout the film and an erotic nude chest of the character plays a major role. I did have to wonder if the inclusion had the desired effect or resulted in unintended humor as the endowed sculpture is quite busty.

The film belongs to Taylor and Burton, but the supporting cast deserves mention for creating robust characters that add flavor.

Eva Marie Saint plays the amiable wife, at first distraught by her husband’s infidelity but later coming to an understanding. Charles Bronson plays Cos Erickson, the protective friend of Laura’s who despises Edward’s hypocrisy.

Finally, Robert Webber is effective as Ward Hendricks, a former beau of Laura, eager for another chance with the violet-eyed bombshell.

The title of the film represents a sandpiper with a broken wing that Laura nurses, as Edward looks on. The bird lives in her home until it is healed and then flies free, though it comes back occasionally.

This sandpiper is used as a central symbol in the movie, illustrating the themes of growth and freedom. The element is sweet and true to the love story between Laura and Edward.

The Sandpiper is an entertaining film, not a great film. It suffers from mediocre writing and cliched storytelling, but a starring vehicle for Taylor and Burton.

The fascination is watching the actors, not for a great cinematic experience and the film is not remembered very well but for fans of the super-couple.

Amazing that the film was made only one year before the dreary yet brilliant Who’s Afraid of Virginia Woolf? (1966) starring the same husband and wife duo as does The Sandpiper (1965).

The roles of Laura and Edward are worlds apart from George and Martha and watched in close sequence to each other one can marvel at the acting chops of each star in comparison.

The film won the coveted Academy Award for Best Original Song for the sentimental “The Shadow of Your Smile”.

Oscar Nominations: 1 win-Best Song-“The Shadow of Your Smile” (won)

Who’s Afraid of Virginia Woolf?-1966

Who’s Afraid of Virginia Woolf? -1966

Director Mike Nichols

Starring Elizabeth Taylor, Richard Burton

Top 100 Films #41

Scott’s Review #200

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Reviewed December 3, 2014

Grade: A

Who’s Afraid of Virginia Woolf? directed by Mike Nichols (The Graduate), is a dark film based on the play from the early 1960s.

Thankfully, by 1966, the Production Code had been lifted, allowing for edgier, darker films to get made- think The Wild Bunch or Bonnie and Clyde from the same period.

Who’s Afraid of Virginia Woolf? is dreary, bleak, and with damn good acting by all four principles.

George and Martha (Richard Burton and Elizabeth Taylor) are an associate history professor and daughter of the college president respectively, living in a small New England town.

They have a bitter love/hate relationship.

One night they invite young newlyweds, Nick (George Segal) and Honey (Sandy Dennis), a new professor and his wife, over for drinks at 2:00 in the morning.

From this point, a destructive night of verbal assaults and psychological games ensues with damaging and sad results for all parties involved, as their personal lives are exposed and dissected.

At the forefront are George and Martha, who have a relationship based on insults, neediness, secrets, and booze. After an evening out, they return home and have a vicious fight.

When their young friends arrive, the tension is thick.

Eventually, the young couple becomes sucked into the older couple’s web of dysfunction, aided by endless drinks throughout the night.

The film is shot very much like a play and filmed in black and white, which I found highly effective- most scenes take place in George and Martha’s house.

While all four actors are great (and were all Oscar-nominated), the standouts for me are Taylor and Dennis.

This role is Taylor’s finest acting performance in my opinion- she is overweight, bitter, angry, frustrated, drunk, and at times vicious to her husband. It is a different performance from many of her other film roles and it is just dynamite.

As her anger flares up, one can feel the heat and intensity oozing from the screen. She goes from vulnerable and soft one moment to a grizzled, bitter woman the next.

Dennis, conversely, is a pure innocent- kind, vulnerable, impressionable, and somewhat of a ninny. Having had too much brandy and spending more than one occasion in the bathroom, Dennis successfully plays giddiness and innocence to the hilt.

Both Martha and Honey harbor dark secrets, which eventually are revealed.

The ambiance is just amazing- black and white cinematography, a hot, suffocating feel to the film, it feels like a quiet little college hamlet, and the setting of the eerily quiet wee hours of the morning is conveyed successfully.

Each story told- mainly by George and Martha- is captivating in its viciousness (both usually belittling the other) that the film becomes mesmerizing in its shock value at the insults hurled.

What will they say or do next?

I loved the scene where Honey does an awkward dance at a late-night bar that the four of them go to. Also, the shotgun scene where George obtains the gun from the garage during one of Martha’s insulting tales is disturbing- what will he do with the gun?

The stories involving George and Martha’s son are sad and mysterious- the viewer wonders what is going on.

The final reveal still gives me chills.

Who’s Afraid of Virginia Woolf? (1966) is one of the greatest film adaptations of a play that I have ever seen.

Oscar Nominations: 5 wins-Best Picture, Best Director-Mike Nichols, Best Actor-Richard Burton, Best Actress-Elizabeth Taylor (won), Best Supporting Actor-George Segal, Best Supporting Actress-Sandy Dennis (won), Best Screenplay Based on Material from Another Medium, Best Original Music Score, Best Sound, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White (won), Best Costume Design, Black-and-White (won), Best Film Editing

Anne of the Thousand Days-1969

Anne of the Thousand Days-1969

Director Charles Jarrott

Starring Richard Burton, Genevieve Bujold

Scott’s Review #56

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Reviewed June 22, 2014

Grade: A-

Anne of the Thousand Days (1969) is one of the better historical dramas I have seen.

One could become absorbed in the history of royalty and learn much. It has a clear Shakespearean quality to it (tragedy) and is compelling in many ways.

It tells the true story of the tumultuous relationship between Henry VIII of England and his second wife Anne Boleyn, whose union produced one of the most famous queens, Elizabeth I. Henry VIII’s first wife, Katherine, is discarded amid much controversy and political intrigue.

The drama is part of what makes this film so interesting, along with the historical element. It is dramatic, but not a soap opera, and the acting is superior.

The film has gorgeous costumes and cinematography too.

Unfortunately, the finale of the beheading left too much to the imagination and a more graphic scene would have put it over the top.

Near excellent though.

Oscar Nominations: 1 win-Best Picture, Best Actor-Richard Burton, Best Actress-Genevieve Bujold, Best Supporting Actor-Anthony Quayle, Best Screenplay Based on Material from Another Medium, Best Original Score for a Motion Picture (Not a Musical), Best Sound, Best Costume Design (won), Best Art Direction, Best Cinematography