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.
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.