Актеры: Elizabeth Taylor (as Catarina/Kate), Richard Burton (as Petruchio), Cyril Cusack (as Grumio), Michael Hordern (as Baptista), Alfred Lynch (as Tranio), Alan Webb (as Gremio), Giancarlo Cobelli (as The Priest), Vernon Dobtcheff (as Pedant), Ken Parry (as Tailor), Anthony Gardner (as Haberdasher), Natasha Pyne (as Bianca), Michael York (as Lucentio), Victor Spinetti (as Hortensio), Roy Holder (as Biondello), Mark Dignam (as Vincentio)
Описание: "Укрощение строптивой" предлагает интересную ситуацию для Ричарда Бертона, укрощающего Элизабет Тэйлор. Хотя верся бойкая, часто проказы и баловство слишком бурны для сцены. Многих это поразит как честный компромисс с оригиналом для массового зрителя. Таким же образом как "Поцелуй меня, Кэйт" и Шекспировским оригиналом.
Сценаристы проделали аккуратную работу, включая свои диалоги без особого ущерба памяти великого Барда. Две звезды наделали много шуму, исполняя свои роли с сырым мясом и искренним весельем. Бертон играет, как говорится, больше, чем в жизни, с множеством шуток, там, где это позволено сценарием.
Тэйлор склонна к чрезмерному "приземлению" роли в начале фильма, а потом переключается на более сдержанное отношение, но резковато. Но что бы там ни было, смотреть, как ее укрощают - сплошное удовольствие. Комедия поддерживается остроумной свадебной церемонией.
Набор опытных актеров идет на пользу картине. Это Майкл Хордерн, Виктор Спинетти, Сирил Кьюсак, Элфред Линч и Джанкарло Кобелли. (Иванов М.)
Рецензии: Spoilers herein.
My my, what people do. Burton was of that English stock of actors who first would engineer the words in designing the character. Then he would figure out the bodily and facial motions. The reading was the core. That belief comes in part from the minute variations in speech that discriminate class in Britain.
Burton was fresh from his/her success in "Woolf," a project that was engineered differently, one in which the words don't matter as much as how they support the weaving of the characters. Mike Nichols stuff.
Zeffirelli has a different motive altogether. His notion is to take something inherently rich -- which is how he sees Shakespeare's plays -- and increase that enrichment with the addition of cinematic luxury.
Add to this mix old Will himself. He's all about situation, at least in the comedies of this period. Disguises, and hidden stratagems that misdirect. Everything is annotation to that, starting with the poetry, then the language, then -- and only then -- the characters and finally and only nominally the set.
Four different theatrical notions. Here they are squeezed together without merging: Burton working his vocal shapes to death in the context of a Nichols-like "combat" between the then two most famous actors alive. Both him and Zeffirelli picking and choosing which phrases to selectively use to support their conflicting goals. And around those phrases Zeffirelli swirls with exiting visuals and music.
What a hash. You should know that Shakespeare wrote comedies set in Italy because Italians were seen as comical. The way they elaborated language apart from meaning. The way they dressed where the decor had nothing to do with the purpose, so far outstripping it that by Elizabethan conventions just seeing an Italian in dress would elicit guffaws. Shakespeare's plays were essentially without sets, so some of the language would be designed to have the audience imagine a humorous excess of surrounding.
Now along comes an Italian to reshape the plays. And he brings the very excess that is the whole tenor of the joke. And along comes an actor that -- quite independent of that -- wants to turn what is a tussle of words into a tussle of emotions. This is also an Italian flaw that Elizabethans would have laughed at.
So instead of mining the inherent richness of the play, we mine the inherent
ridiculousness around which the play builds its riches. That ridiculousness is enriched in appropriately ridiculous ways: campy theatrical rage; astoundingly colorful clothes (influencing and influenced by The Beatles and later to form the basis of their clothing store run by the aptly named "Fool"), and swirling motion of the crowds.
Everybody loses. To see how a similar mix can actually work, see how Emma and Ken spar -- but WITH the language -- in his "Much Ado About Nothing."
Ted's Evaluation -- 2 of 3: Has some interesting elements.