The real-life first marriage of the two stars is nearing its own point of divorce during the creation of this torpid film, the last wherein Richard Burton and Elizabeth Taylor are teamed, and this provides probably the only reason for watching what is at best an exercise in costly kitsch. Produced by the Welsh National Network, HTV Harlech, the work scripted by John Hopkins was made for television to be seen on consecutive evenings, ostensibly presenting first the standpoint of Burton's character Martin Reynolds and latterly that of Taylor's part - his wife Jane - as their 18 year marriage decomposes. As presented, the two seem to have agreed upon the general causes of the passage of events, as there is little variance between any of the scenes supposedly contemplated separately by the married pair and a lack of posture from the scriptor becomes a fatal flaw for the narrative. A large portion of the picture involves Martin's relationship with his employer, and since this requires continual global travel, marital strain ensues, with this intended ancillary plot regarding his career choice becoming the trunk of the scenario, instead of the union between Martin and Jane. Director Waris Hussein has a less than marvelous assignment in eliciting meaningful performances from Burton and Taylor, disastrously failing at it although Burton's innate intensity gives some life to most of his scenes despite the too often fatuous dialogue around which he seems too weary to ad lib. The excellent Italian actor Gabriele Ferzetti smoothly deals with a pallid part as Jane's latest lover, Carrie Nye emotes outrageously as the "other woman" and Barry Foster does well as Martin's sturdy adjutant, but we are never really shown why the couple's marriage is ending, a point not adequately addressed by scattershot plotting.
15 Reviews
Fun, if you know what you're getting into!
denis-381 January 2009
"Divorce/His...etc, is for hardcore Elizabeth Taylor fans (as are most of her vehicles, post 1967) Here you find her in all her latter-day glory--over-the-top and inappropriate in every way. The script, if you can call it that, tells the tale of a longtime married couple (wealthy, of course) whose marriage is coming apart. It's a tale told from two perspectives, tho both are equally silly and poorly written. You can just skip Burton, he's a burnt out zombie here. (Liz n' Dick would separate for the first time shortly after this thing hit the airwaves. Burton looks more than ready!) But our girl Liz gives it her all. She approaches every melodramatic moment, every abysmal line of dialogue as if her life or an Oscar depended on it. Quibble if you will if she is a good actress--she is certainly not a lazy one! She enlivens the material with her baroque presence--the wigs, the jewels, the gowns. The wigs! And of course a drinking game could be made out of her fluctuating weight. In one sequence she visits her horrible children's rooms to scold them. She loses ten pounds between the son and the daughter.
Taylor looks good, stll quite the beauty. Her real problem is her proportions. Very short, very short-waisted and that enormous bosom. Dressing her must have been a challenge even at her slimmest. Here, Edith Head does some excellent work, but Taylor sneaks in a few monstrosites from her own closet--the mini dress/tent she wears in a flashback sequence, in Africa! (She's sporting a fantastically distracting bullet bra, and a gigantic pendant hanging between the famed bazooms. When she sits down, the dress hikes to her crotch. Anybody can act, Miss Taylor puts on a show.) So, it's like that. Taylor's wacky, sometimes stuttering-placing- emphasis- on- the- wrong- word line-readings are also worth a peek.The high point is Liz and Carrie Nye. Nye, who looks like a transgendered corpse, thank you very much, reveals to poor Liz that she (Nye) has had an affair with Burton. Liz, rather tanky in her blue silk penoir get-up, pushes Nye away (how Nye didn't land in the next country is a miracle) "Stop talking, stop telling! He must have been drunk. How could anyone have an affair with you, you're not even beautiful!" This truthful statement seems beside the point, but Miss T. couldn't have given this (and other whoppers) more gusto had it been scripted by Edward Albee.
So, you have been warned. If you like this sort of thing, try to get a copy of "X, Y and Zee" which is much better and when "Zee" is funny, it is meant to be. Liz--we love, ya, honey.
Taylor looks good, stll quite the beauty. Her real problem is her proportions. Very short, very short-waisted and that enormous bosom. Dressing her must have been a challenge even at her slimmest. Here, Edith Head does some excellent work, but Taylor sneaks in a few monstrosites from her own closet--the mini dress/tent she wears in a flashback sequence, in Africa! (She's sporting a fantastically distracting bullet bra, and a gigantic pendant hanging between the famed bazooms. When she sits down, the dress hikes to her crotch. Anybody can act, Miss Taylor puts on a show.) So, it's like that. Taylor's wacky, sometimes stuttering-placing- emphasis- on- the- wrong- word line-readings are also worth a peek.The high point is Liz and Carrie Nye. Nye, who looks like a transgendered corpse, thank you very much, reveals to poor Liz that she (Nye) has had an affair with Burton. Liz, rather tanky in her blue silk penoir get-up, pushes Nye away (how Nye didn't land in the next country is a miracle) "Stop talking, stop telling! He must have been drunk. How could anyone have an affair with you, you're not even beautiful!" This truthful statement seems beside the point, but Miss T. couldn't have given this (and other whoppers) more gusto had it been scripted by Edward Albee.
So, you have been warned. If you like this sort of thing, try to get a copy of "X, Y and Zee" which is much better and when "Zee" is funny, it is meant to be. Liz--we love, ya, honey.
By Rote
bkoganbing8 May 2013
How well I remember from my youth all the media coverage of Elizabeth Taylor and her love life. First her affair with Eddie Fisher and the breaking up of that marriage and then the page one stories for days from the set of Cleopatra where she and Richard Burton were an item. She shed Fisher and married Burton and Liz and Dick married, twice in fact, and did several joint projects. Sad to say this made for television film about a couple's dwindling affection for each other was one of the least of their projects, maybe THE least.
Divorce His - Divorce Hers examines a marriage that has not stood the test of time. Both Burton and Taylor have gone their separate ways have taken on lovers, still is their a chance they could reunite. The viewer will conclude by the end that we don't really care.
Given all the marriages by both parties in real life they could have played these parts in their sleep. In fact I'm reasonably sure that Burton and Taylor were sleepwalking part of the film.
God knows that both individually and jointly Liz and Dick gave us some great performances. But in this strictly star vehicle it all seems by rote.
Divorce His - Divorce Hers examines a marriage that has not stood the test of time. Both Burton and Taylor have gone their separate ways have taken on lovers, still is their a chance they could reunite. The viewer will conclude by the end that we don't really care.
Given all the marriages by both parties in real life they could have played these parts in their sleep. In fact I'm reasonably sure that Burton and Taylor were sleepwalking part of the film.
God knows that both individually and jointly Liz and Dick gave us some great performances. But in this strictly star vehicle it all seems by rote.
Divorce Snooze, Divorce Snooze
wes-connors26 November 2007
Elizabeth Taylor and Richard Burton (as Jane and Martin Reynolds) star in a two-part TV movie, showing their characters' marriage crumbling into divorce. Mr. Burton's "Divorce His" aired February 6, 1973. Ms. Taylor's "Divorce Hers" aired February 7, 1973. Carrie Nye (as Diana Proctor) and Gabriele Ferzetti (as Turi Livicci) play the "other woman" and "other man". The children outperform their illustrious elders.
This sure sounded like a good idea -- divorce told from the differing husband/wife points of view; with notorious divorcées, and terrific performers, Taylor and Burton in the lead roles. The result is startlingly dull. There are few reasons to care whether the couple divorces, or not. The differing perspectives are slight, and uninteresting. And, don't expect any boozy "Virginia Woolf"-type arguments.
Although it's highly irrelevant, or should be, it must be said that Taylor looks very beautiful in many scenes. Since the effort to display her beauty is so obvious; I will mention she was, in my opinion, most alluring in the scene when she was in bed, in the blue nightgown, talking on the telephone.
** Divorce His (2/6/73) Waris Hussein ~ Richard Burton, Elizabeth Taylor, Carrie Nye
** Divorce Hers (2/7/73) Waris Hussein ~ Elizabeth Taylor, Richard Burton, Gabriele Ferzetti
This sure sounded like a good idea -- divorce told from the differing husband/wife points of view; with notorious divorcées, and terrific performers, Taylor and Burton in the lead roles. The result is startlingly dull. There are few reasons to care whether the couple divorces, or not. The differing perspectives are slight, and uninteresting. And, don't expect any boozy "Virginia Woolf"-type arguments.
Although it's highly irrelevant, or should be, it must be said that Taylor looks very beautiful in many scenes. Since the effort to display her beauty is so obvious; I will mention she was, in my opinion, most alluring in the scene when she was in bed, in the blue nightgown, talking on the telephone.
** Divorce His (2/6/73) Waris Hussein ~ Richard Burton, Elizabeth Taylor, Carrie Nye
** Divorce Hers (2/7/73) Waris Hussein ~ Elizabeth Taylor, Richard Burton, Gabriele Ferzetti
Four Stars for a fine performance by Miss Taylor
MGMboy17 December 2003
`Divorce His; Divorce Hers' would be a much better film if it were trimmed from three to two hours. In this effort, T.V. producers attempt to milk the then world shaking coup of nabbing the Burton's for a two-night event (Their first Movie made for television). But the cow ran dry at two hours. The story of a crumbling marriage is told first from the husband's point of view and then in the second half is told from the wife's. Much of the same ground is covered twice and much more interestingly in the second half.
Jane and Martin Reynolds live La Dolce Vita in Rome in the early 70's and after 18 years come to the slow and painful end of their marriage. Rome looks wonderful in the location shots in the Borghese Gardens, along the Via Condotti at night, and Piazza Navona. And attendant with the glamour of Rome the aura of the Burtons is well served in making the Reynolds seem impossibly rich. Notice that Elizabeth wears her Krupp diamond and the famous La Peregrina Peal necklace. No successful business tycoon of Burton's character's income could have afforded such lux baubles for his wife. Still in the early 70's the Liz and Dick glamour machine must be well oiled and the public at the time expected it. Some degree of disbelief would be suspend in anticipation of the Burtons because we somehow felt that what we were seeing less a drama than a simi-documentary about Elizabeth and Richard. And perhaps in some ways those films were just that. Richard Burton's performance is somewhat stiff and cool with flashes of Welsh temper to pepper his scenes. But, over all, he seems rather distant and not too interested in the proceedings. But on the other hand Elizabeth's excellent training in film acting over the years by the masters at M.G.M. comes to her aid in creating a warm fully developed and wonderful lady in Jane. She shines in particular in her scenes with the children and in her scene with Carrie Nye when she learns of Miss Nye's relationship with her husband. She is missed when she is not on hand to bring a little life to Mr. Burton's scenes. Miss Taylor shimmers in her own inimitable way and once again shows new comers and old pro's what real screen acting is about. The film is by no means great but not nearly as bad as some reviewers would lead you to believe. `Divorce His: Divorce Hers' is worth seeing for Elizabeth's solid work.
Jane and Martin Reynolds live La Dolce Vita in Rome in the early 70's and after 18 years come to the slow and painful end of their marriage. Rome looks wonderful in the location shots in the Borghese Gardens, along the Via Condotti at night, and Piazza Navona. And attendant with the glamour of Rome the aura of the Burtons is well served in making the Reynolds seem impossibly rich. Notice that Elizabeth wears her Krupp diamond and the famous La Peregrina Peal necklace. No successful business tycoon of Burton's character's income could have afforded such lux baubles for his wife. Still in the early 70's the Liz and Dick glamour machine must be well oiled and the public at the time expected it. Some degree of disbelief would be suspend in anticipation of the Burtons because we somehow felt that what we were seeing less a drama than a simi-documentary about Elizabeth and Richard. And perhaps in some ways those films were just that. Richard Burton's performance is somewhat stiff and cool with flashes of Welsh temper to pepper his scenes. But, over all, he seems rather distant and not too interested in the proceedings. But on the other hand Elizabeth's excellent training in film acting over the years by the masters at M.G.M. comes to her aid in creating a warm fully developed and wonderful lady in Jane. She shines in particular in her scenes with the children and in her scene with Carrie Nye when she learns of Miss Nye's relationship with her husband. She is missed when she is not on hand to bring a little life to Mr. Burton's scenes. Miss Taylor shimmers in her own inimitable way and once again shows new comers and old pro's what real screen acting is about. The film is by no means great but not nearly as bad as some reviewers would lead you to believe. `Divorce His: Divorce Hers' is worth seeing for Elizabeth's solid work.
Really boring
HotToastyRag19 July 2017
At the time, it was fun to watch every Liz and Dick movie they made together, but knowing they were divorced in 1974, it's not enjoyable to watch a movie in 1973 in which they play a couple in the midst of a terrible divorce. I'd skip Divorce His – Divorce Hers if I were you.
This is one of those movies that pretty much takes place over the course of a few days, but constantly flashes back in time. Usually, I find that kind of story annoying, and this movie is no exception. Elizabeth Taylor and Richard Burton play a bickering, tired, estranged couple who are getting ready to finalize their divorce. Liz has custody of their three children, and each of them are in different stages in anger towards their father. But, none of the kids are particularly likable, so my heart was not tugged in their direction. Liz acts like an understudy; if this was the first movie of hers you saw you'd think she was a lousy actress. Dick is plain cranky, like they've filmed too many takes and he just wants to go home. The script is boring. The so-called surprises are hardly worth the build-ups, and the arguments lack fire, punch, and interest. The pace is slow, and it's not even enjoyable for fans who wish an inside view of what went wrong with the famous couple's marriages. The characters are obviously dissimilar to their offscreen personas. Just skip it. Watch Who's Afraid of Virginia Woolf? instead.
This is one of those movies that pretty much takes place over the course of a few days, but constantly flashes back in time. Usually, I find that kind of story annoying, and this movie is no exception. Elizabeth Taylor and Richard Burton play a bickering, tired, estranged couple who are getting ready to finalize their divorce. Liz has custody of their three children, and each of them are in different stages in anger towards their father. But, none of the kids are particularly likable, so my heart was not tugged in their direction. Liz acts like an understudy; if this was the first movie of hers you saw you'd think she was a lousy actress. Dick is plain cranky, like they've filmed too many takes and he just wants to go home. The script is boring. The so-called surprises are hardly worth the build-ups, and the arguments lack fire, punch, and interest. The pace is slow, and it's not even enjoyable for fans who wish an inside view of what went wrong with the famous couple's marriages. The characters are obviously dissimilar to their offscreen personas. Just skip it. Watch Who's Afraid of Virginia Woolf? instead.
Send in the Clowns; Don't Bother, They're Here
misctidsandbits30 May 2012
Oh the long, descending film ride of the Burtons, on the coattails of the living soap opera. Though repulsed, we cram in to take in the spectacle. How much of the bloated, sickeningly emotive Liz biz can you take? How many times can you watch the booze numbed Dick sleepwalk in the bulking wake of sideshow wifey? (Every inch of focus taken up with just not stumbling.) Obviously, for too many, as much as is offered. The box office following of the prurient knows no bounds. While the "1" rating is for "awful," unfortunately we are "awe-ful" of the spectacle. So helpful there are no longer any "fresh" temptations to draw upon our weakness. Yet, still, the videos crop up, this one found in a search for an earlier and worthier Burton title, yielding a trio of lesser Burton offerings. Beware the packages; confirm titles assiduously, lest you sink, mired once more, into the sucking Taylor-Burton bog ...
Everything seems better in ROME!
Alan-4216 March 2006
These two connecting movies, made in the early seventies were obviously tax write-offs for the over indulgent Burtons - but to see Carrie Nye, wafting about Rome in orange and canary yellow chiffon dresses, sipping champagne out of her golden slippers and charmingly trying to step in between Burton and Taylor's 'on again-off again' love affair is a treat that makes these two 70's period pieces great! With her honest husky drawl, she growls and drinks and brazenly seduces Burton so matter-of-factly, that you really can't understand why he turns her down for the shrill harping's of Taylor's needy character. A fun movie of a time long past - where material excess was accepted and longed for, and the only care in the world was 'what diamonds to wear' that day. Carrie Nye shines in these films.
Divorce, Burton-Taylor style
Chase_Witherspoon15 May 2011
Liz Taylor and Richard Burton star as an estranged couple whose lives have taken divergent paths following an acrimonious divorce several years earlier. The TV movie explores the impact of the separation from each other's perspective, Burton, a wealthy businessman in Rome sewing up a deal on behalf of his African company, Liz, juggling the care of their three children, each exhibiting different impacts of the separation. A great deal of postulating and ruminating is done about the travails of marriage, and time spent discussing 'what went wrong', people making, taking and declining phone calls, and a seemingly inordinate amount of time spent showing Burton in transit, clutching briefcase, looking concerned (or ambivalent, it's difficult to tell) in and out of Rome airport.
It's classic soap opera, and at over two hours, an epic one at that – mercifully, being shown in two parts allows for a much needed intermission, where you can decide whether you really want to return for more. Carrie Nye plays a promiscuous dalliance of Burton with whom he has a brief affair, while Gabriele Ferzetti is Liz's momentary Latin beau. Barry Foster has a prominent supporting role as Burton's associate and frustrated confidante, while some audiences might recognise ubiquitous West Indian actor Rudolph Walker (of "Love Thy Neighbour") in a small role as a businessman.
Given the locations (Rome/Munich), it's a shame there aren't more exterior shots, but then, this is a TV movie and much less a postcard than a long and sometimes tawdry account of the impact of divorce on all concerned. Nice music, but possibly more of interest to those who enjoy the Taylor/Burton collaborations; other audiences my find things a bit slow-moving and talky.
It's classic soap opera, and at over two hours, an epic one at that – mercifully, being shown in two parts allows for a much needed intermission, where you can decide whether you really want to return for more. Carrie Nye plays a promiscuous dalliance of Burton with whom he has a brief affair, while Gabriele Ferzetti is Liz's momentary Latin beau. Barry Foster has a prominent supporting role as Burton's associate and frustrated confidante, while some audiences might recognise ubiquitous West Indian actor Rudolph Walker (of "Love Thy Neighbour") in a small role as a businessman.
Given the locations (Rome/Munich), it's a shame there aren't more exterior shots, but then, this is a TV movie and much less a postcard than a long and sometimes tawdry account of the impact of divorce on all concerned. Nice music, but possibly more of interest to those who enjoy the Taylor/Burton collaborations; other audiences my find things a bit slow-moving and talky.
An Interesting TV Movie Aside From its Obvious Limitations
writerasfilmcritic24 April 2006
I note some interesting remarks in the comments by others about this two-part movie. I won't attempt to do a thorough job in reviewing it because that is already well-handled by them. It is an interesting TV movie, simply because of the subject matter and who is in it. I can't join those who think Liz was so great because I have never been impressed with her acting, or for that matter, her alleged beauty. In general, her performances range from reasonably good to really bad, the best thing I saw her in so far probably "The Sandpiper," also with Richard Burton, while the worst that I recall was "Butterfield 8," which ironically garnered her rave reviews. I've yet to see "Who's Afraid of Virginia Woolf," which certainly got a lot of critical attention. As for her looks, Liz was attractive as a very young woman in "National Velvet" and "Father of the Bride," but had the unfortunate tendency to resemble grilled pork as she boozed her way into middle age, where she looked like she would spout grease if you poked her with a fork. As other's have said, in the right light, she could still be attractive, but from unflattering angles, she simply looked bad. And a nasty, vindictive aspect of her personality surfaced any time she was supposed to be acting angrily. There is a tenderness that came through, as well, like at the end of this movie where she hoped Burton wouldn't be hurt when she asked for a formal divorce and told him to stay away from her and their children for awhile. But she was a very manipulative woman who was something of a drama queen, exemplified by the way she drug him back from the airport for no particular reason, ostensibly wanting to talk. You got the impression that she really did act that way in real life.
Still, I found occasional moments here to be interesting. Taylor's jewelry, as one reviewer pointed out, is very impressive, especially the pearl and diamond necklace. Three scenes stood out. One is the scene where Burton tells his sarcastic son that he, for once, had an entire afternoon to do with as he pleased, and he didn't want to spend it with him. Touche' to that one, as the snotty little b**t**d deserved it in spades. Second is the scene in which Burton explains to Liz why he felt he had to cheat on her the first time. He simply couldn't stand the thought of her doing it to him, he explains, in which his faithful cuckoldry would make him feel "like a fool, a complete fool." He gives this line some real emphasis and then sort of laps at his drink like a thirsty hound (a booze hound), holding the glass with both hands. I found this very amusing, both from the sexual and the alcoholic standpoint. The third scene I liked is where the African head of state, Kaduna, explains to Burton how he has been thoroughly used to soften up his old boss so that the leader can merely improve the terms of the impending deal. He had no intention of insisting upon the hard line strongly recommended by "Martin" (Burton's character), knowing full well the situation would demand that Burton submit his resignation. The black actor in that role did a superb job, I thought, playing the canny African politician who patronized his white adviser while secretly feeling himself decidedly superior.
Still, I found occasional moments here to be interesting. Taylor's jewelry, as one reviewer pointed out, is very impressive, especially the pearl and diamond necklace. Three scenes stood out. One is the scene where Burton tells his sarcastic son that he, for once, had an entire afternoon to do with as he pleased, and he didn't want to spend it with him. Touche' to that one, as the snotty little b**t**d deserved it in spades. Second is the scene in which Burton explains to Liz why he felt he had to cheat on her the first time. He simply couldn't stand the thought of her doing it to him, he explains, in which his faithful cuckoldry would make him feel "like a fool, a complete fool." He gives this line some real emphasis and then sort of laps at his drink like a thirsty hound (a booze hound), holding the glass with both hands. I found this very amusing, both from the sexual and the alcoholic standpoint. The third scene I liked is where the African head of state, Kaduna, explains to Burton how he has been thoroughly used to soften up his old boss so that the leader can merely improve the terms of the impending deal. He had no intention of insisting upon the hard line strongly recommended by "Martin" (Burton's character), knowing full well the situation would demand that Burton submit his resignation. The black actor in that role did a superb job, I thought, playing the canny African politician who patronized his white adviser while secretly feeling himself decidedly superior.
Lousy
mls418217 September 2023
More crud from Richard Burton and Elizabeth Taylor during the 1970s. They were still coasting boozily off their 1960s successes.
The script is terrible as well as the direction. You can't tell what is a flashback and what is present and you stop caring.
Eventually you give up on the story and sit back and wait for Liz's next wig change.
This is even more boring than X, Y and Zee or Play it as it Lays. Every 1970s film Dame Elizabeth Taylor started in made me like her less and less. Did she just stop caring or did she never really gave any talent?
Button is less of a fasbag than he usual. The only plus.
The script is terrible as well as the direction. You can't tell what is a flashback and what is present and you stop caring.
Eventually you give up on the story and sit back and wait for Liz's next wig change.
This is even more boring than X, Y and Zee or Play it as it Lays. Every 1970s film Dame Elizabeth Taylor started in made me like her less and less. Did she just stop caring or did she never really gave any talent?
Button is less of a fasbag than he usual. The only plus.
Shot like a super 8: Burtons latest divorce.
nickjgunning23 November 2019
Shot in blurry primary colours, a no- budget vehicle for Burton and Taylor, with as much insight as could fit on the back of an envelope. It's probably on video-tape so the best way to rate is by placing a large magnet on top of the reel. Recorded on that US system designed to get the signal across wide open spaces on VHF so don't expect vivid, realistic fidelity. The Femme-fatale seems to be dressed in a nylon wig that doesn't move- rather like Granny Munster with bottle- blonde highlights! It steals the scene. Burton and Taylor always required a big budget and production values to gloss over some extremely wooden acting. This would have been improved I'd they'd failed to budget for an electric bill.
Dismiss His - Devour hers
Poseidon-34 August 2005
Warning: Spoilers
As the Burton's own marriage was nearing collapse after a decade of intense scrutiny, the couple filmed this gimmicky "event" film for television. It was presented as a two-part movie with the first night devoted mainly to Burton's point of view as he recalls his relationship with wife (in this film and in real-life at the time) Taylor. His marriage had been put severely to the test with his various transfers around the globe, primarily a transfer to Africa. Then, in part two, the story is continued, but this time with more emphasis on Taylor and her recollections of the marriage and it's eventual demise. The script couldn't be any more fragmented or patchy. In fact, the actual reasons for the break-up and for various infidelities, clashes, ill feelings and so on are never really provided! It attempts to be an arty, meaningful dissection of a marriage and its flaws, but is really little more than an exploitation of its stars and an opportunity for Taylor to show off an increasingly obnoxious assortment of wigs. Burton does not look particularly well in this project and gives a somnambulistic performance throughout the bulk of it. The first half is at times deadening, with only an occasional unintentional laugh to break the monotony (one is the sight of Taylor showing up in a sweat-stained green mini-dress that has no possibility of disguising her unfortunate bumps and bulges!) The business aspects of the Burton-driven half hold little or no interest. Nye shows up in a really fascinating evening gown with a cute Yorkie as an accessory, but it isn't enough to save it. Part two, however, is a vast improvement. As it focuses more on Taylor, who was much more at home in soapy melodramatics like this, it is better at holding the viewer's attention. There is a real joy in seeing diamond-clad Taylor attempt to corral her three unruly, relentlessly-annoying children. The son (best known for his uppity role in Taylor crony Rock Hudson's wartime flick "Hornet's Nest") plays loud music as Taylor tries to get through to him. The older of two daughters is extraordinarily severe and disturbed while the younger one is clinging and single-minded. Taylor also has to contend with a rather opinionated, though attractive, nanny. The piece de resistance, however, is Taylor's showdown with Nye. Nye, who suggests what the love child of Tallulah Bankhead and Marlene Dietrich might be like, delights in tormenting Taylor with the knowledge of her affair with Burton. The very idea that Burton would cheat on ELIZABETH TAYLOR with CARRIE NYE is preposterous and hilarious, though it's possible that even one of the world's most beautiful women might fall short in some categories. That said, even though Liz's waistline is beginning to expand here and her once world-class features were sagging a bit (note the ungodly contouring make-up used under her chin in the flashback scene in which she and Burton discuss becoming a married couple!), she still, in the right light, looks every inch the universally-worshiped star that captivated the globe in the 1960's. And she didn't do it alone... "Hair" by Alexandre, gowns by Edith Head, make-up by Alberto De Rossi, etc... Reasonably skilled actors Foster and Ferzetti are given virtually nothing to do though Ferzetti gets to at least act with Taylor while Foster must sit opposite Easter Island-visaged Burton. The project smells of tax evasion as it was filmed in Rome and Germany to avoid U.S. interference. Little or no attention was paid to the time-line which makes for some confusing visual elements in the flashback scenes. Taylor and Burton's marriage would have occurred around 1955, yet their apartment is shown with ultra-70's furniture as they discuss their engagement and her hair is strictly contemporary (at the time.) Frankly, the whole pretentious project is a bit of a mess, making very little sense and offering pitifully little insight despite it's aspirations, but fans of Taylor mustn't miss her fashion show or her hysterical "family life in the face of turmoil" vignettes. Of interest, too, is the way the title is presented on screen, with pains taken to present the stories with equal importance. Liz's ("Hers") is on top but slightly to the right while Dick's ("His") is on the bottom, but to the left.
A 2 1/2 hour therapy session over two nights.
mark.waltz7 March 2024
Warning: Spoilers
Not just for the stars (Richard Burton and Elizabeth Taylor) but also for the audience who had spent a better part of the previous decade reading about Liz and Dick wherever they went. The two part TV movie has them as a fictional couple who are a slightly tamer version of themselves, going through marital turmoil and being drama king and queen, fortunate in having fictional children and none in real life.
I doubt their marital squabbles in their private life were as calm as they are here, but it's very apparent that as heated as they were both as fictional characters and themselves that a lengthy relationship would create explosions without dynamite attached. In a sense, this film accomplished one thing for this viewer. Having watched all their movies and groaned over most of them, I never have to view any of them ever again.
The presence of Carrie Nye as the boozy socialite who has an affair with Burton has camp elements mainly because she became Tallulah #2 after Ms. Bankhead passed away. Nye, who will seem like a female impersonator to some viewers, did indeed play off her resemblance to the Alabama foghorn, and for better or worse, she walks away with the film, both parts. Taylor fortunately underplays, braying softer than normal, but Burton is obviously just there for the check, walking through most of it. I enjoyed it more on a camp level than for serious drama.
I doubt their marital squabbles in their private life were as calm as they are here, but it's very apparent that as heated as they were both as fictional characters and themselves that a lengthy relationship would create explosions without dynamite attached. In a sense, this film accomplished one thing for this viewer. Having watched all their movies and groaned over most of them, I never have to view any of them ever again.
The presence of Carrie Nye as the boozy socialite who has an affair with Burton has camp elements mainly because she became Tallulah #2 after Ms. Bankhead passed away. Nye, who will seem like a female impersonator to some viewers, did indeed play off her resemblance to the Alabama foghorn, and for better or worse, she walks away with the film, both parts. Taylor fortunately underplays, braying softer than normal, but Burton is obviously just there for the check, walking through most of it. I enjoyed it more on a camp level than for serious drama.
Amatuer Dramatics..Utter rubbish..buy the DVD!
Mick Travis9 April 2004
The glut of DVDs flooding the market is giving us a chance to wallow in some ripe old tosh and I love it!. This pongs like an ignored armpit. Poor old Waris Hussein, its not his fault. Would you fancy telling Dick and Liz that they can't act or even dare whisper that they should at least try to look at the script before the camera rolls ? Everyone around them seems to be red faced. Barry Foster can scarcely hide his shame - fresh from Frenzy and then THIS?. Rudolph Walker puts in an appearance and makes you realise that Eastenders ain't all that bad and that at least you could understand Jack Smethurst whilst he was being all controversial as Rudi's Loving Neighbour. Let's hope that some more enterprising DVD companies release more choice cuts such as this. Bring out your dead! Seriously, if you get a thrill out of high class trash get this one before it goes back into hiding for another 30 years.
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