Elizabeth Taylor

Movie Actress

Elizabeth Taylor was born in Hampstead Garden Suburb, England, United Kingdom on February 27th, 1932 and is the Movie Actress. At the age of 79, Elizabeth Taylor biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, movies, and networth are available.

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Other Names / Nick Names
Elizabeth Rosemond Taylor, Liz, La Liz, Kitten, Bessie Mae (given by Montgomery Clift), Violet Eyes (given by Richard Burton)
Date of Birth
February 27, 1932
Nationality
United States, United Kingdom
Place of Birth
Hampstead Garden Suburb, England, United Kingdom
Death Date
Mar 23, 2011 (age 79)
Zodiac Sign
Pisces
Networth
$600 Million
Profession
Art Collector, Autobiographer, Film Actor, Film Producer, Philanthropist, Stage Actor, Television Actor, Writer
Social Media
Elizabeth Taylor Height, Weight, Eye Color and Hair Color

At 79 years old, Elizabeth Taylor has this physical status:

Height
163cm
Weight
83kg
Hair Color
Black
Eye Color
Dark Blue that almost appeared Violet.
Build
Average
Measurements
36C-24-36"
Elizabeth Taylor Religion, Education, and Hobbies
Religion
Elizabeth was raised in the Christian Science faith.
Hobbies
Not Available
Education
Byron House Montessori School
Elizabeth Taylor Spouse(s), Children, Affair, Parents, and Family
Spouse(s)
Conrad Hilton Jr. ​ ​(m. 1950; div. 1951)​, Michael Wilding ​ ​(m. 1952; div. 1957)​, Mike Todd ​ ​(m. 1957; died 1958)​, Eddie Fisher ​ ​(m. 1959; div. 1964)​, Richard Burton ​ ​(m. 1964; div. 1974)​ ​ ​(m. 1975; div. 1976)​, John Warner ​ ​(m. 1976; div. 1982)​, Larry Fortensky ​ ​(m. 1991; div. 1996)​
Children
4
Dating / Affair
Mickey Rooney (1946-1948), Richard Long (1948), Marshall Thompson (1948), Glenn Davis (1948-1949), Ronald Reagan (1949), Robert Taylor (1949), William Pawley Jr. (1949), Ralph Kiner (1949), Conrad Hilton Jr. (1949-1951), Pat DiCicco (1950-1951), Stanley Donen (1951), Ivan Moffat, Michael Wilding (1951-1957), Peter Lawford (1955), Kevin McClory (1955-1956), Mike Todd (1956-1958), Arthur M. Loew Jr., Eddie Fisher (1958-1964), Richard Burton (1962-1974 & 1975-1976), Peter O’Toole, Robert Stack (1973), Frank Sinatra, Henry Wynberg, Vic Damone, David Bowie, Ardeshir Zahedi, John Warner (1976-1982), Carl Bernstein, Anthony Geary (1982-1984), Victor Luna (1983-1984), Dennis Stein (1985), Robert Wagner (1985), George Hamilton (1986-1987), Larry Fortensky (1988-1996), Jason Winters, Colin Farrell (2009-2011)
Parents
Francis Lenn Taylor, Sara Sothern
Siblings
Howard Taylor (Older Brother) (Died in 2017)
Other Family
Francis Marion “Frank” Taylor (Paternal Grandfather), Elizabeth Mary Rosemond (Paternal Grandmother), Samuel Sylvester Warmbrodt (Maternal Grandfather), Anna/Ann Elizabeth Wilson (Maternal Grandmother), Mara Taylor (Sister-in-law) (Wife of brother Howard), Carrie Fisher (Stepdaughter) (Daughter of Eddie Fisher) (Actress, Writer, Comedian) (Died in 2016), Kate Burton (Stepdaughter) (Daughter of Richard Burton) (Actress), Jessica Burton (Stepdaughter) (Daughter of Richard Burton), Michael Todd Jr. (Stepson) (Son of Mike Todd) (Film Producer), Brooke Palance (Daughter-in-law) (Wife of Michael Wilding Jr.) (Actress), Tarquin Wilding (Grandson) (Son of Michael) (Actor), Naomi Wilding (Granddaughter) (Daughter of Michael), Laela Wilding (Granddaughter) (Daughter of Michael), Margaret Carlton (Daughter-in-law) (Wife of Christopher Wilding) (Film Editor), Lowell Wilding (Grandson) (Son of Christopher), Andrew Wilding (Grandson) (Son of Christopher), Quinn Tivey (Grandson) (Son of Liza), Rhys Tivey (Grandson) (Son of Liza)
Elizabeth Taylor Life

Elizabeth Rosemond Taylor (February 27, 1932-2011) was a British-American actress, businesswoman, and humanitarian.

She began her career as a child actress in the early 1950s and was one of the first female stars of classical Hollywood cinema.

She continued her career into the 1960s with a strong public image for the remainder of her life.

The American Film Institute named her as the seventh-greatest female screen legend in 1999. Taylor, a London native, and a socially wealthy American parent, moved with her family to Los Angeles in 1939.

She made her acting debut in the Universal Pictures film There's One Born Every Minute (1942), but the studio ended her deal after a year.

She was then signed by Metro-Goldwyn-Mayer and became a well-known teen actress after appearing in National Velvet (1944).

Early life

Elizabeth Rosemond Taylor was born in 1932, at Heathwood, England, her family's home on 8 Wildwood Road in the London Borough of Barnet, northwest London, England. 3—10 She received dual British-American citizenship at birth, as her parents, art dealer Francis Lenn Taylor (1897–1968), and retired stage actress Sara Sothern (née Sara Viola Warmbrodt, 1895–1994) were both from Arkansas City, Kansas.

: 3–10

They moved to London in 1929 and opened an art gallery on Bond Street; their first child, a son named Howard, was born the same year. During Taylor's childhood, the family lived in London. Including musicians like Augustus John and Laura Knight, as well as politicians such as Colonel Victor Cazalet, were among the 11–19. Taylor's unofficial godfather and a major influence in her early life, 11-19-19 Cazalet. 11-19 She was enrolled in Byron House School, a Montessori school in Highgate, and was raised according to Christian Science's teachings, her mother's faith, and Cazalet.

: 3, 11–19, 20–23

The Taylors returned to the United States in early 1939 due to a fear of imminent war in Europe. Joseph P. Kennedy, the country's ambassador from 22 to 26 years, pleaded with her father, urging him to return to the United States with his family. Sara and the children were first in April 1939 aboard the ocean liner SS Manhattan and then transferred with Taylor's maternal grandfather in Pasadena, California. Francis, 22, stayed behind to close the London gallery until joining them in December. 22-28 In early 1940, he opened a new gallery in Los Angeles. The Taylor family lived in Pacific Palisades, Los Angeles, with the Chapman family, until they moved to Beverly Hills, California, where the two children were enrolled in Hawthorne School.

: 27–34

Personal life

Taylor's personal life, especially her eight marriages (two to the same man), attracted a lot of media attention and public scornel throughout her adult years. "Whether she liked it or not," Alexander Walker wrote, "the relationship is the backbone of the legend that began surrounding Elizabeth Taylor from [when she was 16]. "96 MGM arranged for her to date football champion Glenn Davis in 1948, and the following year, she was briefly engaged to William Pawley Jr., the son of US Ambassador William D. Pawley is a pet store. 78-88 Howard Hughes, a filmmaker who wanted to marry her, but he refused to pay her parents a six-figure sum if she were to become his wife. Taylor, 81, rejected the invitation, but she was keen to marry young because her "rather puritanical upbringing and convictions" led her to believe that "love is synonymous with marriage." Taylor later described herself as "emotionally ill" during this period, referring to her childhood, she felt she would gain independence from her parents and MGM through marriage.

Taylor was 18 years old when she married Conrad Hilton Jr., the heir to Hilton Hotels, at the Church of the Good Shepherd in Beverly Hills on May 6, 1950. MGM 106–112 MGM arranged the huge and costly wedding, which became a major media event. 106–112 Taylor realized she had made a mistake weeks after her wedding; not only did she and Hilton have no interest in common, but she was also an obsessive and a heavy drinker. After one of his violent outbursts, Hilton caused Taylor to have a miscarriage. 113–119 On January 29, 1951, eight months after their wedding, she was granted a divorce on the grounds of mental disorder.

: 120–125

139 Taylor married Michael Wilding, a British actor 20 years old, in a low-key ceremony in London on February 21, 1952, as she began to film Ivanhoe in England, and she felt that her marriage would benefit his career. 136 They had two sons: Michael Howard (b. January 6, 1953) and Christopher Edward (b. February 27, 1955). 148, 160 As Taylor grew older and more confident in herself, she began to drift away from Wilding, whose failing career was also a source of marital strife. 160–165 When she was away filming Giant in 1955, gossip magazine Confidential sparked controversies by claiming that he had entertained strippers at their house. Taylor and Wilding announced their separation on July 18, 1956, and they were divorced in January 1957.

Elizabeth "Liza" Frances, 1957; b. August 6, 1957) Taylor married her third husband, theater and film director Mike Todd in Acapulco, Guerrero, Mexico, on February 2, 1957. 186 Todd, a media stunt, pleaded for the public's interest in their wedding; for example, in June 1957, he held a birthday party at Madison Square Garden, which was attended by 18,000 people and broadcast on CBS. 188 He died in a plane crash on March 22, 1958, leaving Taylor devastated. 193–202 Todd's and her companion, musician Eddie Fisher, with whom she soon began an affair. 201–210 As Fisher was still married to actress Debbie Reynolds, the affair culminated in a public controversies, with Taylor being branded a "homewrecker." "7-9 is a 7-9" Taylor and Fisher were married at the Temple Beth Sholom in Las Vegas on May 12, 1959; she later said she married him purely for love.

: 7–9 : 201–210

Taylor began an affair with her co-star, Welsh actor Richard Burton, even though Burton was already married when filming Cleopatra in Italy in 1962. Rumors of the affair began to circulate in the media and were confirmed by a paparazzi photograph of them on a yacht in Ischia. 27–34 According to socioologist Ellis Cashmore, the photograph marked a "turning point" in a new period in which celebrities' personal lives were no longer distinct from their public images. The scandal prompted Taylor and Burton to be suspended by the Vatican for "erotic vagrancy," prompting calls in the US Congress to prohibit them from entering the country. 36 Taylor was granted a divorce from Fisher on March 5, 1964, in Puerto Vallarta, Mexico, and married Burton ten days later in a private ceremony at the Ritz-Carlton Montreal. Burton later adopted Liza Todd and Maria Burton (b. August 1, 1961), a German orphanage whose adoption process Taylor had started when married to Fisher.

Taylor and Burton starred together in 11 films and lived a jet-set lifestyle, investing millions on "furs, diamonds, paintings, minimalist clothes, travel, liquor, and a jet, with a yacht and a jet named "Liz and Dick" by the media. Karen Sternheimer, a 193 socioologist, states that they "became a cottage industry of speculative speculation about their suspected overspending life." The couple came to represent a new era of 'gotcha' celebrity coverage, where the more personal the tale, the better." They divorced in June 1974 for the first time, but Taylor and Burton married in Kasane, Botswana, on October 10, 1975. Richard was a guy named Richard, and they were really just company. "Issu, 437" Taylor's sixth husband, John Warner, a Virginia Republican politician, met her sixth husband soon after her final divorce from Burton. 405-404They were married on December 4, 1976, before which Taylor concentrated on his electoral campaign. 402–405 After Warner was elected to the Senate, she began to live as a politician's wife in Washington, D.C., becoming depressed, overweight, and increasingly addicted to prescription drugs and alcohol. Taylor and Warner divorced in December 1981, but in November 1982, they were 410–411.

Dennis Stein, a businessman from Brooklyn, was the subject of Warner, Taylor's divorce from Anthony Geary, and he was engaged to Mexican lawyer Victor Luna in 1983–1984. 437 – 466 She married her seventh – and last – husband, construction worker Larry Fortensky, at the Betty Ford Center in 1988. The wedding was once more being surrounded by intense media attention, with one photographer returning to the ranch and Taylor selling the wedding photos to People for $1 million, which she used to start her AIDS charity. Taylor and Fortensky divorced in October 1996, 437, but they stayed in touch for life. The split was attributed to her agonizing hip surgeries and her obsessive disorder. Fortensky underwent brain surgery after falling off a balcony and being coughed for six weeks, and Taylor admitted immediately that he would personally guarantee his medical expenses. "You will always be a big part of my heart," she wrote to him at the end of 2010. I'll love you for ever." Taylor's last phone call with Fortensky was on February 7, 2011, the day before she checked into the hospital for what turned out to be her last stay. He told her she would outlive him. Taylor had been divorced for almost 15 years, but Fortensky had a $80,000 inheritance.

Taylor was raised as a Christian Scientist and converted to Judaism in 1959. Taylor said that although two of her husbands, Mike Todd and Eddie Fisher, refused to convert because of them and that she wanted to do so "for a long time" and that "there is [has] existed for four thousand years," she said. "I'm sure I've been a Jew all my life." Taylor was influenced in her decision by her godfather, Victor Cazalet, and her mother, who were vocal supporters of Zionism during her childhood, according to Walker.

: 14

Taylor became a vocal promoter of Jewish and Zionist causes after her conversion. She bought $100,000 worth of Israeli bonds in 1959, causing her films to be banned by Muslim countries around the Middle East and Africa. She was also refused to film Cleopatra in 1962, but the Egyptian authorities' ban was lifted two years later, after Egyptian officials decided that the film gave the country good news. Taylor, in addition to purchasing bonds, helped raise funds for charities such as the Jewish National Fund, and sat on the board of trustees of the Simon Wiesenthal Center.

She also advocated for the rights of Soviet Jews to migrate to Israel, postponed a visit to the USSR due to Israel's condemnation of Israel during the Six-Day War, and wrote a letter rebutting 1975's United Nations General Assembly Resolution 3379. After more than 100 Israeli civilians were taken hostage in the Entebbe skyjacking in 1976, she sold herself as a replacement hostage. She had a small role in the television film made about the incident, Victory at Entebbe (1976), and narrated Genocide (1981), an Academy Award-winning documentary about the Holocaust.

Taylor is known as a fashion icon both for her film costumes and personal style. Helen Rose and Edith Head's costumes were mainly designed by her, as well as Irene Sharaff in the 1960s. In BUtterfield 8 (1960), she had a white ball gown in A Place in the Sun (1951), a Grecian dress on a Hot Tin Roof (1959), a green A-line gown in Cat on a Hot Tin Roof (1959), a slip and a fur coat. Her make-up make-up look in Cleopatra (1963) started a trend for "cat-eye" make-up, with black eyeliner.

: 135–136

Taylor-Burton Diamond, the 69.42-carat (13.884 g) and the 50-carat La Peregrina Pearl, all three of which were gifts from husband Richard Burton, all three of which were worn by Taylor throughout her life. 237–278 275–276 She has also published a book about her collection, My Love Affair with Jewelry, in 2002. Taylor helped to popularize the work of fashion designers Valentino Garavani and Halston. In 1997, she received a Lifetime of Glamour Award from the Council of Fashion Designers of America (CFDA). Christie's jewelry and fashion collections were auctioned in honor of her AIDS charity, ETAF, following her death. The jewellery sold for a record-breaking sum of $156.8 million, as well as the clothes and accessories for a further $5.5 million.

Taylor suffered with health issues for the majority of her life. As she was filming National Velvet in 1944, she was born with scoliosis and broke her back, but it caused her persistent back pains. 40-47 she died in 1956 She underwent an operation in which some of her spinal discs were removed and replaced with donated bone. 175 Taylor was also vulnerable to other illnesses and injuries, which often necessitated surgical intervention; in 1961, she recovered from a near-fatal bout of pneumonia that needed a tracheotomy. She was hospitalized with pneumonia caused by bacteria.

In addition, she was also addicted to alcohol, prescription pain killers, and tranquilizers. She was seen at the Betty Ford Center for seven weeks from December 1983 to January 1984, becoming the first celebrity to openly admit herself to the clinic. 424–425 Taylor relapsed later in the decade and began recovering in 1988, 366–368 Taylor became overweight in the 1970s, especially after her marriage to Senator John Warner. Elizabeth Takes Off (1988) She published a diet book about her experiences. Taylor was a heavy smoker before suffering with a severe bout of pneumonia in 1990.

Taylor's health has deteriorated over the past two decades of her life, and she hasn't attended public functions since 1996. Taylor suffered from pneumonia in 1990 and 2000, two hip replacement surgeries in the mid-1990s, a benign brain tumor biopsy in 1997, and a highly effective skin cancer treatment in 2002. She used a wheelchair as a result of her back pains and was diagnosed with congestive heart disease in 2004. She died of the disease at age 79 at the Cedars-Sinai Medical Center in Los Angeles, six weeks after being hospitalized. Her funeral took place the following day at the Forest Lawn Memorial Park in Glendale, California. Rabbi Jerome Cutler presided the service as a private Jewish synagogue. The service started 15 minutes behind schedule at Taylor's request, although she's spokesperson said, "She even wanted to be late for her own funeral." She was entombed in the Great Mausoleum of the cemetery.

Taylor lived at 700 Nimes Road in Los Angeles' Bel Air district from 1982 to 2011. In 2011, Catherine Opie, an art photographer, conducted an eponymous photographic investigation of the house.

Source

Elizabeth Taylor Career

Acting career

Taylor's mother was regularly told that her daughter should audition for films in California. Taylor's eyes, especially the 27-30s, drew notice; they were violet, to the extent of being violet, and were rimmed by dark double eyelashes as a result of a genetic mutation. 9 Sara was initially opposed to Taylor's appearance in films, but after the outbreak of war in Europe returned home to normal, she began to see the film industry as a means of assimilating to American culture. Hedda Hopper, a friend of the Cazalets, was a 27-30s' Beverly Hills gallery that gained clients from the film industry right after opening. Taylor auditioned for both Universal Pictures and Metro-Goldwyn-Mayer in early 1941, and Sara Taylor accepted Universal's bid.

: 27–37

Taylor began her apprenticeship in April 1941 and was cast in a small role in There's One Born Every Minute (1942). 27-37 She did not work elsewhere, and her employment was terminated after a year. "The child has nothing" says the casting director of Universal, and she doesn't have a child's face. "The 27-37 biographer Alexander Walker agrees that Taylor looked different from those of the child stars of the 1970s, such as Shirley Temple and Judy Garland. "I used to frighten grown ups because I was completely direct," Taylor later said.

Taylor had another chance in late 1942, when her father's acquaintance, MGM producer Samuel Marx, arranged for her to audition for a minor role in Lassie Come Home (1943), which called for a child actor with an English accent. 27–37 She was born in Dover, England, after a three-month trial contract, she was given a seven-year contract.

: 38–41

Taylor appeared in her first acting role at the age of 12, when she was chosen to play a girl who wants to compete as a jockey in the sole male Grand National in National Velvet. 40–47 She later called it "the most exciting film" of her career. MGM had been looking for a well-known actress with a British accent and the ability to ride horses since 1937, and Taylor was chosen at the suggestion of White Cliffs director Clarence Brown, who knew she had the required talents.

: 40–47

Filming was postponed several months to encourage her to develop; she spent the time riding riding. 40–47 MGM required her to wear braces to align her teeth, and two of her baby teeth were missing when she was first introduced as a new star, and she had to wear braces to align her teeth. Taylor and her parents refused to have her hair dyed and change the shape of her eyebrows, and so we suggested that she use the screen name "Virginia."

Since its introduction in 1944, National Velvet became a box-office success. Bosley Crowther of The New York Times said "her entire demeanor in this photograph is a show of refreshing grace," while James Agee of The Nation said that she "is rapturously stunning." I'm not sure or care if she's able to act or not."

Taylor later revealed that her childhood ended when she became a actress, when MGM began to monitor every facet of her life. 48–51 She referred to the studio as a "large factory," where she was expected to adhere to a strict daily schedule: days spent at school and recording sessions, evenings in singing and singing classes, and evenings practising the next day's scenes. 48–51 MGM gave Taylor a new seven-year deal with a weekly wage of $750 and a minor role in the third film in the Lassie series Courage of Lassie (1946). The studio also published a book by Taylor's writings about her pet chipmunk, Nibbles and Me (1946), and the studio also had paper dolls and coloring books made for her.

: 51–58

MGM began to establish a more mature public image for Taylor by arranging photo shoots and interviews that depicted her as a "good" teenager attending parties and going on dates when she turned 15 in 1947. 56-57, 64-74 Film journals and gossip columnists alike began comparing her to older actresses like Ava Gardner and Lana Turner. For her two film roles this year, 71 Life called her "Hollywood's Most Developed Junior Actress" for her two film roles. 69. Taylor played a frail girl who defies her overprotective parents to attend the prom (1947), opposite William Powell and Irene Dunne, she portrayed the love interest of a stockbroker's son in the critically panned Cynthia (1947).

: 58–70

They were followed by supporting roles as a teen "man-stealer" who seduces her peer's date to a high school dance in the musical A Date With Judy (1948) and as a bride in Julia Misbehaves (1948). This was a commercial success, with over $4 million in the box office grossing over $4 million. 82 Taylor's last adolescent role in Mervyn LeRoy's Little Women (1949), a box-office hit. Taylor was on Time's cover this year, a true sapphire" is the leader of Hollywood's next generation of actresses.

When Taylor turned 18 in 1950, she made the switch to adult roles. In her first role as a mature woman (1949), she plays a woman who is beginning to suspect that her husband is a Soviet spy. Taylor, 75, were only 16 at the time of its filming, but its release was postponed until March 1950 because MGM feared it would cause diplomatic difficulties. The Big Hangover (1950), co-starring Van Johnson, was Taylor's second film of 1950. It was announced in May. In the same month, Taylor married Conrad Hilton Jr. in a huge publicized ceremony. 99–105 MGM arranged the festival and used it as part of Taylor's forthcoming film, Vincente Minnelli's Bride (1950), in which she appeared opposite Spencer Tracy and Joan Bennett as a bride planning for her wedding. 98-105 Since its release in June, the film became a box-office hit (netting $670,000,763 in 2021 dollars), it was followed by a smashing sequel, Father's Little Dividend (1951), ten months later.

George Stevens' A Place in the Sun (1951), Taylor's next film release, marked a change from her earlier films. It was the first film in which she had been invited to perform rather than simply being herself, according to Taylor, and it was the first film in which she had been asked to perform, and it earned her critical acclaim for the first time since National Velvet. 96-97 Taylor portrayed Taylor as a spoiled socialite who exists between a poor factory worker (Montgomery Clift) and his pregnant mother (Shelley Winters), based on Theodore Dreiser's novel An American Tragedy (1925). Stevens was cast as "not so much a real girl as the one on the candy box cover," the stunning young girl in the yellow Cadillac convertible that every American boy somehow or not believes he will marry.

": 92

A Place in the Sun was a critical and commercial success, grossing $3 million. Taylor's "histrionics are of a level so far beyond anything she has achieved," Herb Golden of Variety said. Stevens' technical hands on the reins must be credited with a minor miracle. In a story in which her passionate and genuine passion avoids the pathos common to teenage love as it often comes to the screen," A.H. Weiler of The New York Times wrote.

Taylor appeared in Love Is Better Than Ever (1952). 124–125 According to Alexander Walker, MGM cast her in the "B-picture" as a reprimand for divorcing Hilton in January 1951 after only eight months of marriage, which had caused a public scandal that looked unfavourable on her. 124-125 Taylor was sent to Britain to participate in the historic epic Ivanhoe (1952), one of the most costly projects in the studio's history. 129–132 She was not happy with the venture, finding the plot superficial and her character as Rebecca was too small. 129–132 In any case, Ivanhoe was one of MGM's biggest commercial successes, earning $11 million in worldwide rentals.

Taylor's last film under her old MGM deal was The Girl Who Had Everything (1953), a remake of the pre-code drama A Free Soul (1931). 145 Taylor signed a new seven-year deal with MGM in the summer of 1952; 139–143 Taylor survived her grievances with the film, but the studio's greatest factor in maintaining with the company was her money; she had recently married British actor Michael Wilding and was pregnant with her first child. 139–143 In comparison to offering her a weekly salary of $4,700 ($47,602 in 2021 dollars), MGM decided to give the couple a mortgage and a three-year deal, instead of granting her a three-year deal. 141–143 Due to her financial dependence, the studio now had even more power over her than ever.

: 141–143

Taylor's first two films under her new name were released ten days apart, in early 1954. Rhapsody, a romantic film starring her as a woman trapped in a love triangle with two musicians, was released ten days apart. The second was Elephant Walk, a drama in which a British woman was trying to adapt to life on her husband's tea plantation in Ceylon. After the film's original actress, Vivien Leigh, died, she was loaned to Paramount Pictures for the film. 148–149

Taylor appeared in two other film premieres in the fall. Beau Brummell was another Regency period film in which she was cast against her will. 153–154 Taylor disliked historical films in general, as their intricate costumes and make-up made it impossible to sleep earlier than usual to prepare. She later admitted that she gave one of her career's worst shows in Beau Brummell. 153–154 Richard Brooks' The Last Time I Saw Paris was Richard Brooks' second film, based on F. Scott Fitzgerald's short story. Despite wanting to be cast in The Barefoot Contessa (1954), Taylor loved the film and later stated that it "convinced me" rather than yawning my way through parts. "While The Last Time I Saw Paris was not as profitable as many other MGM films, it received raves." Taylor, 153-157, became pregnant again during the course of the production and had to commit to another year of service to make up for the time she was on maternity leave.

: 153–157

By the mid-1950s, the American film industry was beginning to face significant competition from television, which culminated in studios making fewer films and instead focusing on their quality. 158–165 Taylor's career changed after many years of career disappointments, and he found new challenges in his post-graduate work. 158–165 She won the female lead role in Giant (1956), an epic drama about a ranching dynasty starring Rock Hudson and James Dean. Taylor's debut in Marfa, Texas, was a difficult challenge, as she fought with Stevens, who wanted to break her will to make it easier to direct, but she was also sick, resulting in delays. 158-165 158–165 Dean died in a car crash just days after completing shooting; the grieving Taylor had to film reaction shots to their joint scenes. 158–166 When Giant was first introduced a year ago, it was a box-office smash and was widely lauded by commentators. 158–165 Taylor earned good feedback for her debut, with Variety calling it "very smart" and the Manchester Guardian lauding her work as "an extraordinary display of unsuspected gifts" despite her not being nominated for an Academy Award like her co-stars. It was dubbed one of the film's greatest assets.

MGM reunited Taylor with Montgomery Clift in Raintree County (1957), a Civil War story in which it hoped to imitate Gone with the Wind (1939). Taylor's role as a physically ill Southern belle was fascinating, but overall, she disliked the film. 166-177 Although the film didn't turn out as MGM's desired result, Taylor was nominated for the first time for an Academy Award for Best Actress for her performance.

Maggie the Cat in the screen version of Tennessee Williams' "Cat on a Hot Tin Roof (1958) a career "high point." However, it fell during one of her personal struggles. She had divorced Wilding and married producer Mike Todd after finishing Raintree Country. When Todd was killed in a plane crash in March 1958, she had only been filming for two weeks. Taylor returned to work only three weeks after being devastated by the studio's uncertainty, fear from the studio, and the knowledge that Todd had substantial debts. 195–203 She said that "in a way] she became Maggie" and that acting "was the only time I could function" in the weeks after Todd's death.

Taylor's personal life drew more attention as she began an affair with singer Eddie Fisher, whose marriage to actress Debbie Reynolds had been portrayed by the media as the union of "America's sweethearts." 203–210 The affair – as well as Fisher's subsequent divorce – changed Taylor's public image from a grieving widow to a "homewrecker." MGM exploited the controversy by including a snapshot of Taylor sleeping on a bed in a slip in one of the film's promotional posters. 203–210 Cat grossed $10 million in American cinemas alone, making Taylor the year's second-most profitable actor. 203–210 She received praise for her appearance, with Bosley Crowther of The New York Times calling her "terrific" and Variety lauding her for her "a well-accented, perceptive interpretation." Taylor was nominated for an Academy Award and a BAFTA.

Joseph L. Mankiewicz' Suddenly, Last Summer (1959), Taylor's next film was Joseph L. Mankiewicz' Suddenly, Last Summer (1959), was another Tennessee Williams adaptation, starring Montgomery Clift and Katharine Hepburn. Taylor was paid $500,000 for playing the part of a severely traumatized patient in a mental institution. 203–210 Although the film was a drama about mental illness, childhood traumas, and homosexuality, it was still popular with Taylor's sex appeal; both its trailer and poster featured her in a white swimming competition. As the film was a financial success, it was a win. Taylor received her third Academy Award nomination and her first Golden Globe Award for Best Actress for her role.

: 203–210

Taylor owed one more film for MGM, which it decided would be called BUtterfield 8 (1960), a drama about a high-class call girl in a retelling of a 1935 version of the same name. 211–223 The studio did a good job with the fact that Taylor's public image would make it possible for viewers to identify her with the role. 211–223 She disliked the film for the same reason, but had no choice in the situation, though the studio accepted her demands of filming in New York and casting Eddie Fisher in a sympathetic role. 211–223 — 211–223 As predicted, BUtterfield 8 was a huge commercial success, grossing $18 million in worldwide rentals. Taylor "looks like a million dollars, in mink or negligée," according to Variety, although Variety says she gives "a torrid, stinging portrayal with one or two brilliant passages within." Taylor received her first Academy Award for her appearance.

: 224–236

Taylor appeared in Cleopatra (1963), during her MGM tenure (1963). According to film historian Alexander Doty, this historical epic made her more famous than ever. She became the first actress to be paid $1 million for a role, as well as shooting the film in Todd-AO, a widescreen film in which she had inherited Mike Todd's rights. 10–11 211–223 The film's execution – which included expensive sets and costumes, continuous delays, and a controversy triggered by Taylor's extramarital affair with her co-star Richard Burton – was closely followed by the media, with Life naming it as the "Most Talked About Movie Ever Made." "11-12, 39, 45, 56, 56, 56, 56" – In 1960, filming in England began, but it was forced to be halted several times due to bad weather and Taylor's ill health." 12-13: She had almost fatal pneumonia in March 1961, which necessitated a tracheotomy; one news agency had erroneously reported that she had died. ? 12-13 Once she had recovered, Fox cut the already shot film and relocated the film to Rome, replacing the producer with Joseph Mankiewicz and the actor playing Mark Antony to Burton. 39 In July 1962, filming was finally completed, making it the most expensive film ever made up to that point.

: 46

Cleopatra's 1963 in the United States was the country's biggest box-office hit; the film earned $15.7 million at the box office ($138,962,065 in 2021 dollars). 56–57 Despite this, it took the film several years to recover its production costs, which caused Fox to fail. Taylor was blamed for the production's failures publicly, and Burton and Taylor were unsuccessfully sued for allegedly damaging the film's commercial prospects by their conduct. 46 Taylor's reviews were mixed to negative, with critics noticing her overweight and her voice too thin, and critics comparing her to her classically trained British co-stars. 265–267 Taylor called Cleopatra a "low point" in her career, and said that the studio had cut out the scenes that she felt provided the "core of the character" in retrospect.

In Fox's black comedy What a Way to Go, Taylor was supposed to follow Cleopatra by leading an all-star cast. (1964) But talks fell through, and Shirley MacLaine was cast instead. In the meantime, film makers were eager to profit from the Taylor and Burton scandal, and they appeared in Anthony Asquith's The V.I.P.S. (1963), which mimics the headlines. Taylor, 42, 45, 255–266 Taylor played a notable model in the 1980s, as well as Burton, her estranged millionaire husband. It was launched soon after Cleopatra and became a box-office hit. 264 Taylor was also paid $500,000 ($4,425,543 in 2021 dollars) to appear in Elizabeth Taylor's CBS television special in London, in which she explored the city's landmarks and recited passages from famous British writers' works.

: 74–75

Taylor took a two-year break from filmmaking after finishing The V.I.P.s, during which she and Burton divorced their spouses and married each other. 114 In the mid-1960s, the supercouple began starring in films together, earning a total of $88 million over the next decade; Burton once said, "They claim we produce more business growth than one of the poor African nations." "193 Biographer Alexander Walker compared these films to "illustrated gossip columns" because their film roles often represented their public personae, while film historian Alexander Doty found that the majority of Taylor's films during this period "conform to and reinforce the image of an indulgent, raucous, immoral or amoral, and appetitive" in several senses. In Big Sur, California, Taylor and Burton's first joint project after her hiatus was Vincente Minelli's romantic drama The Sandpiper (1965), about an illicit marriage between a bohemian artist and a married clergyman. The newspaper's findings were mostly negative, but the box office earned a good $$$$$14 million.

: 116–118

Who is afraid of Virginia Woolf? is their new venture. (1966), an extension of Edward Albee's play of the same name, featured Taylor's most popular show of his career. Martha and George, a middle-aged couple going through a marital crisis, appeared on 142, 151–152. Martha Taylor gained weight, wore a wig, and applied make-up to make herself appear older and worn out, in stark contrast to her public image as a glamorous film actress. 136–137: 282: 281–282 At Taylor's suggestion, theater director Mike Nichols was hired to direct the project despite his inexperience with film. 139–140 The result was different from anything she had seen before, as Nichols wanted to thoroughly rehearse the script before beginning filming. 141 Woolf was regarded as ground-breaking for its adult themes and uncensored words, and it was welcomed to "glorious" reviews. Taylor's "characterization is at once sensuous, spiteful, cynical, pitiable, lustful, and tender," Variety wrote. Stanley Kauffmann of The New York Times said that she "does the finest work of her career, both current and vital." The film was also one of the year's biggest commercial hits. 286 Taylor received her second Academy Award, BAFTA, National Board of Review, and the New York City Film Critics Circle for her role.

Taylor and Burton performed Doctor Faustus in Oxford for a week to benefit the Oxford University Dramatic Society; she appeared and performed in her first stage role as Helen of Troy, which necessitated no speaking. 186–189 Burton made Doctor Faustus (1967), the same cast, despite generally critical feedback. 186–189 critics also blasted the project, but the box office took in only $600,000. Taylor and Burton's next project, Franco Zeffirelli's The Taming of the Shrew (1967), which they also co-produced, was more fruitful. 164 It was another challenge for Taylor because she was the only actress in the production with no previous experience of Shakespeare; Zeffirelli later said that this made her performance more interesting, as she "invented the part from scratch." "168 Critics found the play to be appropriate for the couple, and the film became a box-office hit, grossing $12 million."

: 181, 186

John Huston's Reflections in a Golden Eye, Taylor's third film since Cleopatra, was her first without Burton since Cleopatra. It was based on Carson McCullers' novel of the same name, about a repressed gay military officer and his unfaithful wife. It was originally planned to co-star Montgomery Clift, but his career was in jeopardy for several years due to his heroin use issues. Taylor, who was determined to get his participation in the scheme, also offered to pay for his insurance. 157–161 But Clift died from a heart attack before filming began; he was replaced by Marlon Brando in the role. Reflections, 175, 189 Reflections was a time of great and commercial disappointment at the time of its emergence. 233–234 Taylor and Burton's last film of the year was the film version of Graham Greene's book The Comedians, which received mixed reviews and was a box-office disappointment.

: 228–232

By the late 1960s, Taylor's career was in decline. She had gained weight, was approaching middle age, and did not fit in with New Hollywood stars like Jane Fonda and Julie Christie. 135–136: 294–296, 307–303 The public was sick of Burton and her lifestyle, and it was criticized of their jet set lifestyles after several years of almost constant media interest. 294-152 : 294–306 305–306 Taylor starred in two films directed by Joseph Losey in 1968, a triumph! Both the Secret Ceremony and the Critical Failures were both critical and commercial failures. 238–246 The former, based on Tennessee Williams' The Milk Train Doesn't Stop Here Anymore, depicts her as an elderly, serial-marrying millionaire, and Burton as a younger man who turns up on the Mediterranean island on which she has based. Mia Farrow and Robert Mitchum appear in the 211–217 Secret Ceremony. Taylor's third film with George Stevens, The Only Game in Town (1970), in which she played a Las Vegas showgirl who has an affair with a compulsive gambler portrayed by Warren Beatty, was unsuccessful.

: 287

Taylor's three films in 1972 were similar in terms of popularity. Zee and Co., which portrayed Michael Caine and her as a struggling married couple, won the David di Donatello award for Best Foreign Actress. She appeared in Under Milk Wood's Dylan Thomas' Under Milk Wood, and although her role was small, the producers decided to keep her top-billing to profit from her fame. 313–316 In Peter Ustinov's Faust parody Hammersmith Is Out, her tenth film role with Burton, she was playing a blonde diner waitress. 316 Taylor received some glowing feedback, with Vincent Canby of The New York Times writing that she has "a certain vulgar, ratty charm" as well as Roger Ebert of The Chicago Sun-Times' "the spectacle of Elizabeth Taylor growing older and more stunning continues to amaze the population." At the Berlin Film Festival, her role received the Silver Bear for Best Actress.

Divorce Hiss (1973), Taylor and Burton's last film together, was released as they separated the following year. 357 The British thriller Night Watch (1973) and the American drama Ash Wednesday (1973) were two of her three films released in 1973. 341–349, 358–358 For the former, who starred as a woman who underwent multiple plastic surgeries in the hopes of saving her marriage, she was awarded a Golden Globe award. The Italian Muriel Spark version The Driver's Seat (1974), her only film to be released in 1974, was a flop.

: 371–375

Taylor played fewer roles after the mid-1970s and concentrated on helping her sixth husband, Republican senator John Warner, a US senator, succeed her. She appeared in The Blue Bird (1976), a critical and box-office loss, and she had a small part in the television film Victory at Entebbe (1976). She appeared in Stephen Sondheim's critically acclaimed film version, A Little Night Music (1977).

: 388–389, 403

Taylor appeared in The Mirror Crack'd (1980), adapted from an Agatha Christie mystery book and starring an ensemble cast of actors from the studio era, including Angela Lansbury, Kim Novak, Rock Hudson, and Tony Curtis, after a period of semi-retirement from films. 435 Wanting to challenge herself, she took on Regina Giddens in a Broadway revival of Lillian Hellman's The Little Foxes. 411: 348–362 Taylor's idea was to put Giddens in a negative light, as had often been the case, but instead of portraying her as a victim of circumstance, she said, "She's a killer."

": 349

Despite mixed reviews, the production debuted in May 1981 and ended with a sold-out six-month run. 411: 347–362 Frank Rich of The New York Times praised Taylor's appearance as "Regina Giddens," the city's blighty Southern bitch-goddess, starts gingerly, quickly rises, and then erupts into a black and thunderous storm that might knock you out of your seat, according to Los Angeles Times' Dan Sullivan, "Taylor introduces a potential Regina Giddens," as seen through the persona It includes some acting as well as some personal displays." Helena Cassadine, the evil socialite in the daytime soap opera General Hospital, appeared in November 1981, but the British press gave her mainly critical feedback.

: 347–362

The Elizabeth Taylor Repertory Company was inspired by the success of The Little Foxes, Taylor, and producer Zev Buffman. 347–362 It was the first and only production of Nol Coward's comedy Private Lives, starring Taylor and Burton. 413–425 : 347–362 It premiered in Boston in early 1983 and, despite commercially excellent, received generally critical feedback, with critics noting that both actors were in noticeably poor shape – after the play's run ended, Taylor admitted herself to a drug and alcohol rehabilitation center and Burton died the following year. Taylor dissolved her theater company after Private Lives' failure. 413–425 : 347–362 Between Friends, her only other project this year, was the television show Between Friends.

Taylor appeared mainly in television shows since the mid-1980s. 363–373 She appeared in soap operas Hotel and All My Children in 1984 and 1985, as a "fading celebrity star" in the drama There Must Be a Pony (1986), as a woman based on Poker Alice in the eponymous Western (1987). 363–373 She reunited with director Franco Zeffirelli in his French-Italian biopic Young Toscanini (1988), and she appeared in the last starring role of her career in a television adaptation of Sweet Bird of Youth (1989), her fourth Tennessee Williams play. 363–373 She began receiving honorary awards for her work during this period, including the Cecil B. DeMille Award in 1985 and the Film Society of Lincoln Center's Chaplin Award in 1986.

Taylor devoted her time in the 1990s to HIV/AIDS activism. In one night in February 1996 to advertise her new fragrance, she appeared in several animated series Captain Planet and the Planeteers (1992) and The Simpsons (1992), and in four CBS series - The Nanny, Can't Hurry Love, Murphy Brown, and High Society (1993).

Her last theatrically released film was in the critically criticized, but still lucrative, The Flintstones (1994), in which she played Pearl Slaghoople in a brief supporting role. Taylor's career included the AFI Life Achievement Award in 1993, the Screen Actor Guild honorary award in 1997, and a BAFTA Fellowship in 1999. In 2000, she was named a Dame Commander in the chivalric Order of the British Empire on the Queen Elizabeth II's list of Honours List. Taylor, who appeared in the television film These Old Broads (2001) and the animated sitcom God, the Devil and Bob (2001), announced that she was moving from acting to philanthropy. 436 She appeared in public performances at a She performed Love Letters with James Earl Jones in 2007 at an AIDS benefit at the Paraphrasedoutput.

: 436

Source

Elizabeth Taylor smashed Richard Burton's 'Shakespearean ambitions' amid pair's scandalous romance and two explosive marriages - new book claims

www.dailymail.co.uk, March 24, 2024
According to Elizabeth Taylor, the author of a new book on their rollercoaster romance, Richard Burton's 'Shakespearean dreams' were shattered by her. During the construction of their 1963 mega-flop Cleopatra, the two couples engaged in a wild affair when they were both married to other people. Their tumescent affair became a Hollywood celebrity, with the pair getting married and divorced twice in the middle of a blizzard of alcohol-fuelled zeal.

The London Clinic was ordered to investigate how Kate Middleton's medical information was obtained by the princess, according to health minister Maria Caulfield, who was'made aware' of a "significant security breach."

www.dailymail.co.uk, March 20, 2024
Following Kate's planned abdominal surgery in January, Bosses at the prestigious hospital have launched an urgent investigation after it was discovered that at least one staff member attempted to access personal information about her. The Princess is said to be aware of the allegations, but a Kensington Palace spokesperson said, "This is a matter for the London Clinic." Maria Caulfield, a nurse, said today that the legislation was "very straightforward" regarding the prohibition of accessing private medical records for no medical use.

Kate Middleton hacking mystery: Data watchdog launches urgent probe into hospital where Princess was treated after 'staff tried to access her medical files' - but clinic bosses REFUSE to reveal how long they've known and if anyone has been sacked

www.dailymail.co.uk, March 20, 2024
After the Princess of Wales' personal information was discovered after she underwent planned abdominal surgery in January, Bosses of The London Clinic launched the urgent probe after it was discovered that at least one member of staff had attempted to access the Princess of Wales' personal information. Yesterday, mystery shrouded the massive security scandal, with the private hospital refusing to disclose whether it was first informed of the misconduct or if the employees involved had been suspended while the investigation continues. The Information Commissioner's Officer (ICO), a data monitoring body, told MailOnline that it had'received a breach report' and is reviewing the evidence provided. Meanwhile, insiders at the hospital, which is based in Marylebone, central London, were "utterly shocked and distraught" that a 'trusted colleague' had wrought such a 'breach of trust and ethics'.
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