Fahmid Hassan Prohor 'The Taming of the Shrew' is one of the classic Shakespeare comedy film ever made by the 'Shakespearean Director' Franco Zeffirelli in the early 1960s. The exceptional acting in the film has been made by Elizabeth Taylor as Katharina and her second husband Richard Burton as Petruchio. It was a golden time for them too while acted together. The others were starred by Michael Hordern as Baptista, Natasha Pyne as Bianca and Michael York as Lucentio. It won an Academy Award for the set direction and costume design. Though it's a faithful version of the play, it had the subplot of Bianca missing plus the tinker which is not that important. It was produced by Franco Zeffirelli and MGM studios. This is the story about a hot-tempered but beautiful woman named Katharina who married to a wise noble named Petruchio. According to the director, this film is based on how Katharina rediscovers herself from a hot-tempered woman to a gentle lady that her husband transformed her to. The costumes are authentic as expected in Shakespeare's time. It was set in Italy as told in the play but it was shot under the studio. This version inspired most people that some other directors can make a contemporary version based on the same. Elizabeth Taylor as in real life didn't do any of the Shakespearean films before as this film is her first role in the Shakespeare play. She looked stunning in her costume but was also exceptional as she showed her 'tamed side' after meeting Petruchio who also done justice to his role. The atmosphere almost adjusts the play due to the dialogue was written. Some dialogues were replaced to help the contemporary audiences to understand the Shakespearean language. Burton made an exceptional acting rather than Taylor but the chemistry was superb as I think. The comedy was worth laughing due to its content. Michael Hordern was not there much but he gave an active role as a father which was worth laughing. The climax shows the message where both the play and the films tried to represent. The message of the film was shown by running its plot but it sometimes dragged that we become bored and miss the subplot of Bianca but foreshadowed by its comedy. Natasha played a cute Bianca but a cat-like expression that wowed the audience. The development of the characters was not perfect except for Baptista, Katharina, Bianca and Petruchio's acting. Overall, the story and its screenplay were authentic but the acting was mind-blowing, as I think. As people say 'Old-is-Gold', yes it is true that the 'real' movies ruled the 60s. It was such an era that anyone cannot forget where educative films were made with a little entertainment.

MissSimonetta While not as memorable or iconic as his Romeo and Juliet (1968), Zeffirelli's The Taming of the Shrew (1967) is a delightful and vivid imagining of one of Shakespeare's most infamous plays.Like the 1968 R&J, Taming is set in Italy, but in terms of atmosphere, the two could not be more different. This production feels more earthy with its muddy streets and overdressed characters, unlike the later film, which feels romantic and almost ethereal. This approach works best for such a bawdy, vulgar comedy, filled with witty repartee, innuendo, and slapstick.Richard Burton is oafish, rambunctious, and a little sexy as Pertruchio, but it's Elizabeth Taylor who steals the whole film as the titular shrew. Despite never having been involved in a Shakespeare production on stage or in front of a camera, she delivers the verse well and gives Katherina an inner fire which never dies, even after she is supposedly "tamed" by Pertruchio. Her delivery of the controversial speech in the final scene is filled with irony. Though she seems to be extolling a wife's total subservience to her spouse, it's obvious she is only playacting for the public and her marriage will be more equal than Petruchio realizes.A good adaptation, especially for those who prefer traditionally staged Shakespeare to more modern re-imaginings.

m-naramore1 Often overshadowed by his most famous of love stories (Romeo and Juliet), there is no denying, in this most flamboyant creation of a dramatic comedy and romance, Shakespeare's The Taming of the Shrew is in comparison, highly unknown and unrecognized to the common world of today. However, in saying this, there is also one place where this story is indeed recognisable in many shapes and forms. Though it may not possess the same marketing value as that of Verona's famous pair of star crossed lovers, The Taming of the Shrew has always had an unusual popularity in the world of film. So much that it was this story to be the first put to the screen with sound and dialogue by Sam Taylor in 1929, which made it the first Shakespearian play adapted to film with the actual use of the language. Yet while Taylor's attempts are certainly admirable, there is simply no competing with a Franco Zefferelli production of Shakespeare. In true Zefferelli fashion, his 1967 adaptation is visually spectacular, and from the very first few minutes in, you are immediately captivated by the buoyant spirit and energy present within the streets of our fair Padua. Though Zefferelli is not completely faithful to the original script, it is barely noticeable and easily forgiven as he still remains so wonderfully loyal to the story in many other important ways. For example, through the use of exuberant music and bright costume, Zefferelli manages to intensify the vibrancy of the comical atmosphere as well as the contrasting character personalities. However, the most intensifying aspect to the film in itself is most definitely the acting. There is a clumsy and awkward unpredictability in the energy of the crowds that gather throughout the film. But this is also present in the behaviour of central characters, and there seems to be conflict almost everywhere. Even the little children who carry the train of Kate's wedding dress are fighting. Though this does give it a sort of pantomime feel at times, I believe Zefferelli's intention was to keep the arguments amusing rather than actually violent. Therefore, he chooses to tackle the destructive nature of the play in a way that is true to the story but still entertaining for the audience. A story so renowned for its daring and rambunctious nature, The Taming of the Shrew is truly unique to its time and setting. With a love/hate relationship present between our two central characters (who often seem more prone to violence than anything else) Shakespeare does extremely well in challenging the typical preconceptions of love and marriage between man and woman of the time. Therefore, in order to successfully give us the right balance of this vicious yet amusing relationship on screen, the director's most important task lies in finding the actors who are capable. This is something of which I believe Zefferelli succeeds in more than anyone. With his risky and bold decision in casting a couple almost as notoriously wild as their characters, Zefferelli like others before him, deemed only a real life marriage worthy enough to possess the experience and knowledge needed in order to truly do the relationship justice. The difference was that this couple excelled. The legendary Richard Burton with his long career of Shakespearean drama was the perfect fit as our tamer Petruchio. Although his then wife Elizabeth Taylor was not the most ideal choice as Kate, (with no previous experience of Shakespeare,) it was not her reputation as an actress that landed her the role of the shrew, but her reputation as a tenacious wife. I must admit, as a massive fan of Taylor, I found myself trying extremely hard not to be bias in judging her performance as Kate. Although it wasn't exactly an Oscar winning performance, especially in comparison to Burton as Petruchio, I found Taylor's efforts as Kate truly commendable. Especially after having to bare the close to mute version of her played by Mary Pickford in 1929, I found myself almost grateful for the over dramatic moments given by Taylor. There's no denying that overall Burton was the ultimate star, but I believe that without Taylor as his fiery Kate, the film could have never reached its full potential. This was primarily the reason why Zefferelli took the risk of casting an amateur like Taylor in the first place. He knew that without an independent woman who was just as capable of handling Burton, as Kate is in handling Petruchio, the film would fall flat. And so he bases his decision on the chemistry of the actors rather than the ability to act, as they are truly believable on screen and everything is very natural between them. For example when you see a furious Kate giving Petruchio that signature scowl from across the room, you cannot help but feel like they have exchanged this look a thousand times before. Overall, I found Zefferelli's 1967 adaptation of the Taming of the Shrew truly enjoyable. While the imaginative costume, music and architecture is signature to a Zefferelli creation, it was the rustling and energetic atmosphere of Padua so exceptionally represented that had me immediately enthusiastic from the very beginning. I also found myself extremely grateful for the length of the film, as the 1929 version disappointingly, just ran over an hour long. Though he will always be criticized by some for his decision to not stick to the original script, I believe that Zefferelli was faithful to Shakespeare in all of the important ways. His efforts in paying enough attention to the main characters were his greatest success. As he had learnt from Sam Taylor's mistakes before him in 1929, how that passion and chemistry could very well easily be the determining factor to the films ultimate rise or fall.

thewolffather The Taming of the Shrew (1967)Directed by: Franco Zeffirelli Comedy | Drama | Romance Richard Burton (Petruchio) | Elizabeth Taylor (Katharina) | Michael York (Lucentio) | Natasha Pyne (Bianca) 122 minutesFranco Zeffirelli's first film is lavishly produced from the fine clothes his characters don to the silver tableware Petruchio handles on entering Katharina's abode to ask for her hand in marriage. Costumes Design and Art Direction attained Academy nominations, although the film did not receive any. The score written by Nino Rota is characteristic of the the Late Middle Ages when the motion picture is set. Scenes from the original text are gathered around Padua, Italy, and surrounding countryside, which are pleasantly reflected as this project was recorded in Dino De Laurentiis Cinematografica Studios, Rome, Lazio, Italy.This is William Shakespeare's "The Taming of the Shrew" according to the introduction credits, in comparison to Zeffirelli's "Romeo and Juliet". We are left wondering about the machine which is operating behind this movie as it has its star actors in Burton and Taylor and its fanciful title William Shakespeare's... but when reflecting on the original text you will be led to confusion; is this movie based on the induction or the latter part of the play? Shakespeare makes it perfectly clear which end we are receiving. If it is a mash in which Burton plays more to a Christopher Sly than a Petruchio, then it is not William Shakespeare's "The Taming of the Shrew", it is Burton-Zeffirelli's...Ten minutes are spent in the initial taming. Petruchio takes off his sword, rolls up his sleeves and after some chasing, bantering, threats of physical violence, and swinging Katharina is silenced and hurt to a limp as she is dragged by her suitor to be paraded in front of her father and his guests. There is far more action in the motion picture than in the original text where the banter flows mentioning animals such as an ass, a turtle, a wasp, a crab, and domestic fowl, as well as flowers! (This film loves flowers.)Burton-Zeffirelli decided to cut the inductions found in the original Shakespeare text from the beginning of this feature film, although they included some reference to the induction. Early in the movie we receive the image of a religious drama on-stage playing to the drama within a drama concept. This is followed by a man in a wig and what seems to be a man dressed as a woman, the second man is carried off in a parade on a death bed, is this the boy dressed as the wife of Christopher Sly? And how does that relate to Petruchio who is presented as a drunk in this film. Maybe Burton only read the first few pages of the original text... Soon after we meet our hero, the drunk, Hortensio (Victor Spinetti) lays the plan of the marriage of Kate to Petruchio. After the conversation Petruchio is so drunk he is unable to undress for bed. The most striking reminder of the induction is the next morning where what is described in these lines occurs:Let one attend him with a silver basin Full of rosewater and bestrewed with flowers, Another bear the ewer, the third a diaper,Act I line 57-59 William Shakespeare's The Taming of the Shrew)Burton plays a Petruchio who often chuckles to himself funnily and we are convinced by his taming of Katharina who is driven off to his country home for some more taming. Unfortunately this Shakespeare adaptation was undone by Elizabeth Taylor's Disney-style acting, she was unable to aspire to the standard presented by Burton, York, Pyne and most members of the acting unit involved in this Burton-Zeffirelli production.It is chilling how inapt Taylor's acting can be. She has two emotions throughout the entire movie. Her emotions which are expressed through her throwing things and not throwing things and her voice which is pure monotone and varies between angry and placid. Take the scene just as Petruchio arrives at Baptista's home for the first time. Taylor chases Pyne who screams in a multitude of ways while Taylor throws out her lines in her monophonic fashion.If she has only two emotions Taylor's face knows only two expressions of wide-eyed and squint-eyed. If it were called Burton-Zeffirelli's "The Squinting of the Shrew" it would delve a fitter example of the quality of acting presented to the amateur and Shakespearean audience alike. When Taylor first appears on screen peeking out from between the shutters of her father's house she exhibits this wide-eyed to squint- eyed and vice versa look. Every time she appears she maintains the on-screen presence of a spoiled 2D Disney princess. Over-acting might be the term to insert here or over-compensating for not being an actual Shakespearean actor. However Taylor did win two Oscars during her lifetime for Best Actress at the Academy Awards. Who are we to judge?