Motompa Go in cold, and you're likely to emerge with your blood boiling. This has to be seen to be believed.

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Isbel A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

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.

l-mcglinchey1 The best place for The Taming of the Shrew is in a DeLorean bound for the Stone Age. While I've never been known for my feminist principles even I was aggravated by the outdated plot of Shakespeare's battle of the sexes "comedy". Though produced in a period where women's rights were finally garnering attention, Zeffirelli's adaptation remains mostly oblivious to this fact. With the main gag being domestic violence this film was never going to be a smooth ride for Zeffirelli, yet he treats this issue with the delicacy of a troop of stampeding elephants.So here's the story: Kate (Elizabeth Taylor), a woman with some firepower -okay a LOT of firepower- is too hot for the men of Padua to handle. No big deal, right? Wrong! Until Kate is married off, her sister Bianca must remain single (shock horror!) much to the annoyance of her various suitors. First world problems, eh? Luckily, Petruchio (Richard Burton) a booze-loving, money-grabbing brute comes to town to 'thrive and wive', and that he does, Kate being his chosen victim . . . ahem . . . partner.The first scene of Kate and Petruchio together just goes to prove that when Zeffirelli is good he's good. He captures the brilliant wittiness, the sexual tension, the hint that these two could actually be good together. Sparks fly- along with the furniture. Never mind if Petruchio's flirting is practically sexual harassment-this exchange is an enthralling meeting of minds! Kate certainly gives as good as she gets and is a joy to behold in all her sharp-tongued glory. Yes indeed, things look very promising for Zeffirelli.However, we want serious conflict, drama, obstacles and boy does Petruchio deliver! Cue violence, torture and starvation. Be warned, this is no harmless S & M to spice up the honeymoon, this is Petruchio's disturbing 'taming' process. Naturally this taming concept is challenging to make funny thus the film promptly nosedives. Zeffirelli cannot skilfully navigate the abrupt change in direction. He attempts to continue the bawdy and boisterous tone of previous scenes and this is his downfall. Shockingly, domestic abuse humour just doesn't sit with a modern audience. Let the bra- burning commence!Unfortunately,one of the biggest lures of the film turns out to be one of its biggest turn-offs; Burton as Petruchio. He fails miserably in his misguided attempt to make Petruchio the lovable rogue. Burton's interpretation is no more than an abusive, drunken lout. Whether he actually falls for Kate is irrelevant because he is cruel and revels in her suffering. The taming is a source of entertainment for him which makes his treatment of his wife all the more derogatory and humiliating.Combined with his constant alcohol consumption and 'heh heh heh' chuckle (which is a form of torture in itself) he makes for a despicable and extremely irritating character.Despite the problematic domestic abuse Zeffirellli does create some much needed comedy thanks to the eccentric Hortensio (Victor Spinetti) who wears enough makeup to put Maybelline out of business. Rejoice some gender equality at last! His camp mannerisms and ridiculous high-jinks add light to an often disturbing tale. His general cluelessness makes him an endearing character, so much so that a What Hortensio Did Next spin-off would be greatly appreciated. Hilarious facial expressions and slap-stick humour make him quiet the scene stealer and his ingenious disguise (fake beard and glasses) as he woos Bianca is so bad that it is in fact pretty good. Undoubtedly, Hortensio provides a fun alternative to the overbearing Petruchio.Other highlights include the sumptuous set designs and costumes, particularly Katherine's stunning wedding dress. Certainly this is a visually beautiful film, it's just a shame the other elements didn't come together so seamlessly. Also, Taylor gives a powerhouse performance, executing Kate's infamous speech with great dignity and poise despite stomach-churning lines like 'Thy husband is thy lord, thy life, thy keeper'. Indeed it's a relief to finally see her get the better of her husband when she speedily disappears after their kiss. Yet, strangely in spite of Kate's small triumph during the ambiguous finale the film's overall vision still seems to mock women's rights just as they were coming to the forefront of society.Shakespeare's play provides the perfect platform to make a statement supporting female independence yet Zeffirelli wastes the opportunity, reducing his adaptation to a sketch on physical and mental domestic violence. Considering the film's questionable tagline 'A motion picture for every man who ever gave the back of his hand to his beloved ... and for every woman who deserved it' it seems deliberately misogynistic rather than a lack of skill on Zeffirelli's part, especially given the brilliance of his 1968 Romeo and Juliet.With adaptations as awkward as this, it's no wonder The Taming of the Shrew remains one of the Bard's lesser loved works. Indeed, I never thought I'd see the day when a nineties teen flick was more female empowering than a supposed classic but you'd be better off watching 10 Things I Hate About You (with the added bonus of Joseph Gordon-Levitt!) as Zeffirelli simply doesn't do The Taming of the Shrew justice. Tabloid followers and Taylor-Burton fans will enjoy the antics but for anyone else avoid it like a playhouse in the plague!

david-sarkies To be honest I still haven't made up my mind about this play, and yes, I know that this is a movie based upon the play, but I wish to discuss what my original thoughts were when I first watched this movie and the penny dropped. I remember my housemate come in and was appalled at one of the scenes in which Richard Burton held Liz Taylor down and commented that such a scene would not be accepted in today's world. For me, it was Katerina's final speech that outraged me, and then the more I thought about the play, the more outraged I became at a play that on its surface, treats women like dirt. Granted, the concept of selling one's daughter to the highest bidder is something that still occurs today in some cultures, but it is the status of women in this play that outraged me.Let us consider it for a minute. The entire play is about how a man, Petruchio (played by Richard Burton) psychologically beats a woman, Katerina (played by Elizabeth Taylor) into submission. What is strange though is that many of the people that I spoke to about this either laughed and said that it is Shakespeare, or berated me for taking 21st century thought into a 16th century play. However, a little research (read wikipedia) suggested that the play was quite controversial even in Shakespeare's time, and a further play, The Tamer Tamed, was written a little later in which the tables are turned on Petruccio.However, there is still my position on the play, and on the film. The film is very good, and treats the play in a way that many people treat it, and that is as a farce. In another sense, what we can be seeing is social criticism, Shakespearian style. However that still begs the question of whether Shakespeare is a misogynist. I don't think so. Some of his women are very strong characters, as well as being very respectable, and very eloquent (read Miranda, one of the most beautiful of Shakespeares' characters, in my opinion). Then there is Titania, she is very much an iron lady. Further, we need to consider the context in which it was written. There was a woman on the throne of England, who succeeded another very brutal and bloody woman (by which she earned the moniker, Bloody Mary).In my opinion, the jury is still out on this play, and I will be returning to it once I have read it. However it is interesting to note that even Germaine Greer liked the play and wrote highly of both Petruccio and Katerina (though she probably did read a bit too much into it - but then again, so have I).

emma-marnell Zeffirelli triumphs once again with his version of The Taming of The Shrew by William Shakespeare. The 1967 film version of this play directed by Franco Zeffirelli is one that captures many similarities and differences between this film and Shakespeare's original play text. This film is set in Italy and is based around the marriage of two sisters who come from a wealthy family. Their father declares that until his eldest daughter Katharina is wed he shall not allow any man to pursue his younger daughter Bianca. Katharina's character in this film is very similar to Shakespeare's original portrayal of her, she is fiery, sharp tongued and ill-tempered just as she is in Shakespeare's original play text. In contrast to Katharina is her sister Bianca, Bianca is portrayed as a perfect and obedient character in this film as well as in Shakespeare's original text, however over the course of the film the characters of Katharina and Bianca develop and they change into completely different people to who they were at the beginning of the film and this is another similarity these characters have with the original text of the play. The character of Petruchio is represented in the same manner in which Shakespeare had originally portrayed him. Petruchio is driven by money in this film as he was in the original play text and he loves the idea of taming his shrewish wife Katharina. Zeffirelli makes multiple references to this element of his character for example he dangles things in front of her that she wants and establishes that he will decide if she gets them or not. There are many similarities between this film and the original play text however there are also some significant differences, for example Zeffirelli excludes the opening scene of the play from the film. This doesn't impact the film too greatly though even if we don't know it's a play within a play, as elements of this first scene in the play are seen in the first scene of the film as there is the drunkard tied up in the cage which may represent Cristopher Sly.Another difference between Zeffirelli's film version of this text and the actual play text itself is the comedy that is present throughout the entirety of this film. There are plenty of examples in the film of where comedic references are present one example is at both wedding scenes and both are by instigated by Petruchio, another example is when Petruchio is chasing Katharina around her house, another example is in the scene with Lucentios father just before the wedding. Petruchio seems to be at the heart of most of the comedic scenes in this film which makes him differ from Shakespeare's original portrayal of him in the play text. Zeffirelli's choice in casting for this film was spot on again as Elizabeth Taylor and Richard Burton are outstanding playing the characters of Katharina and Petruchio. There is undeniable chemistry between the two of them and as the film draws to a close this becomes more and more noticeable. Zeffirelli also does an exceptional job of capturing the colour and comedy present at the time in Italy. The costumes for one were outstanding and kept very much with the time capsule in which this play is set, the differences in the costumes of ordinary daily life to the ones at the wedding is captured with phenomenal detail in this film and Zeffirelli does an exceptional job in showing the differences between the two. The differences in costume between a poor woman and a wealthier woman are also present throughout this film as we see Katharina and Bianca in much more luxurious dresses than the less well-off women in this film. The comedic references that are made throughout this film are extremely precise within which time this play was set, for example in the very opening scene when there are people making fun of the drunkard. All in all I believe Zeffirelli's adaptation of "The Taming of The Shrew" by William Shakespeare is outstanding as he focuses on the little details such as the traits in which the characters present throughout the film, the development of Katharina's character, the comedic references throughout the film, the casting choices and the costume design.