Movies

‘Elizabeth Taylor: The Lost Tapes’ reveals an intimate portrait of an iconic Hollywood star

BBG News

As a cinema devotee who has spent countless hours engrossed in the silver screen, I must confess that Elizabeth Taylor is undeniably one of the most intriguing figures to ever grace Hollywood. My fascination with her stems not just from her iconic roles and glamorous persona, but also from her remarkable life experiences that transcended the confines of celluloid.

What captivates me about Elizabeth Taylor is primarily her performances in two films: “The Taming of the Shrew” directed by Zeffirelli and Shakespeare, and “Who’s Afraid of Virginia Woolf?” directed by Nichols and Albee, where she starred alongside Richard Burton. I’ve also seen her in some of the original “Father of the Bride” films with Spencer Tracy, as I used to watch most comedies on TV. However, the adult dramas she was in, such as “Butterfield 8,” “Raintree County,” and “A Place in the Sun,” were not my preferred genre at the time, and I’m not sure if I’ve ever watched her early roles in “Lassie Come Home” and “National Velvet.”

In the second half of the 20th century, just like any American alive during that time, I was aware of her frequently seen face in the media, which varied from dignified to scandalous tabloid coverage. She had multiple marriages, most notably twice to Burton, her lavish jewels, the epic production of “Cleopatra”, the first film where an actor earned a million dollars, and whose financial troubles almost ruined the studio. Before painting Marilyn Monroe, Andy Warhol had already depicted her. Later, she appeared in commercials for her perfume line and made significant strides in AIDS research.

We’re now discussing “Elizabeth Taylor: The Lost Tapes,” a captivating documentary directed by Nanette Burstein (“Hillary,” “The Kid Stays in the Picture”). This fascinating piece will debut on HBO this Saturday at 8 p.m., also available for streaming on Max. The documentary is based on 40 hours of previously undiscovered interviews conducted by journalist Richard Meryman from 1964, intended for a potential book. At just 32 years old, Elizabeth Taylor had already been acting in films for 22 years and was a star for 20. The narrative largely revolves around her voice, supplemented by the perspectives of close friends and associates such as Roddy McDowall, her co-star from “Lassie Come Home” and lifelong confidant, and Debbie Reynolds, who had a less intimate friendship with Taylor following her husband Eddie Fisher’s sudden romantic involvement with Taylor. An abundance of archival footage, home movies, and photographs, along with new footage showcasing tape recorders, ashtrays, and martini glasses, serve to vividly depict Elizabeth Taylor’s career and life.

As a movie enthusiast, I’ve always been intrigued by the private lives of public figures – not just their scandals, although many careers have risen from uncovering and spreading them, but more so, understanding the everyday life of extraordinary talents. I find it fascinating to discover the human behind the iconic figure who often appears untouchable. Taylor, for instance, was a mystery in her early days – her public image was carefully constructed by studio PRs, who arranged fake dates to give her an ordinary teenager vibe. Yet, Taylor’s narrative soon outgrew these controlled narratives.

In today’s digital era, where celebrities are under the unblinking gaze of thousands of smartphones and the relentless urge for self-promotion, they often expose their personal lives more than ever before, inviting us into their homes or granting intimate interviews to fellow celebrities wielding the same power. Yet, there’s a clear boundary beyond which they won’t venture.

Experiencing a profound realization, by watching carefully chosen scenes from her movies – a minuscule representation of her extensive body of work, which is far beyond the scope of “substantial” – demonstrates the exceptional acting ability and reacting skills she possessed. Burton’s comment – frequently quoted, by Burton himself – that initially he doubted her talent on set, but was astounded when he reviewed the daily footage, holds true. She exudes a captivating, intense vitality on screen, although it can be easy to overlook amidst the glamour and allure of her celebrity status and striking looks. As MGM producer Sam Marx put it, “It was like an eclipse of the sun – it overshadowed everyone in the office.” A brief encounter was sufficient for him to cast her without a test, for the film “Lassie Come Home,” and he couldn’t resist her charms: “She’s 5 foot 5 and 110 pounds of 16-year-old breathtaking, cover girl beauty,” as one promotional clip described her. Regrettably, many of her films failed to match her talent.

The delicate balance between the public image and private self, the ordinary and extraordinary, is the core of the movie. Taylor disliked being seen as a public service; she didn’t appreciate fame or feeling like she belonged to the public. Instead, she enjoyed being an actress or striving to be one. However, she often felt insecure about her acting skills, particularly when working alongside Method actors such as Montgomery Clift and James Dean, who were not only colleagues but also close friends. Regarding her own approach, she stated, “It’s not about technique; it’s about instinct.” Yet, whatever she did, seemed to succeed.

As someone who has spent years researching and analyzing the lives of various public figures, I can attest that Taylor’s story is one that stands out as particularly captivating and complex. While “The Lost Tapes” doesn’t claim to be an exhaustive account of her career, it certainly provides a unique glimpse into Taylor’s life that feels both intimate and insightful.

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2024-08-04 18:07

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