Word: screens
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Dates: during 1960-1969
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...never rests long enough to get restive, Zeffirelli builds the production against a background of burnt sienna, vermilion and viridian-the splashiest colors of the Renaissance palette. He also keeps Taylor and Burton front and center just long enough: their larger-than-life personalities dominate the screen without drowning the play...
...Lover." Vanessa, on the contrary, seems born to be a great leading lady, the Duse of the coming decade. She has that magic in her that all the great ones have: a sense of mystery and radiance in her presence. When she first appears on stage or screen, the spectator feels his skin begin to prickle. In A Man for All Seasons, she appeared in a single scene and spoke a single line, but the aura of her Anne Boleyn was so enthralling that she got more attention from many critics than most of the featured players. Yet Vanessa...
...Taming of the Shrew. "We intend to make Shakespeare as successful a screenwriter as Abby Mann." Thus spake Director Franco Zeffirelli last year when he began filming The Taming of the Shrew. The screen credits maintain the mock-the-bard tone: script billing goes to Zeffirelli, Paul Dehn and Suso Checchi D'Amico, with a coy acknowledgment "to William Shakespeare, without whom we would have been at a loss for words." The irreverence in this case is less a shame than a sham. Despite the disclaimer, Zeffirelli has succeeded in mounting the liveliest screen incarnation of Shakespeare since Olivier...
...salty salvo in the war between the sexes, Shrew has already been through several screen treatments, including one with Mary Pickford and Douglas Fairbanks Sr., a long-running road-company revival with the Lunts, and a Broadway musical adaptation (Cole Porter's Kiss Me Kate). Zeffirelli has refurbished the oft-told tale by styling it with the brio of the 16th century commedia dell'arte. Moreover, his casting seems to be a case of art's imitating life: Elizabeth Taylor as the sharp-tongued tigress, Kate, and Richard Burton as her hard-nosed trainer, Petruchio...
Vallee's brilliant bumbling, on the other hand, is even better on the wide screen, as when he Freudian slips, "I like the way you thinch, Fink" and intones the college musical lampoon, Grand Old Ivy. For the first time, Hollywood seems to have cracked the Morse code: after appearing in a succession of turkeys-most recently Oh Dad, Poor Dad (TIME, March 3)-Bobby is finally allowed to steal a picture the way he stole the show. He burbles with the irresistible energy of a degenerate Peter Pan as he chants to a mirror, I Believe...