Grating with a Payoff

Pinpoint
Jan 29th 13:14

Some lines and exchanges in this inveighing tour de force are legitimate laughs well-delivered. But no matter how good some of these scenes are, it made me wish I was seeing them on the stage. The film never really becomes a film, which questions the very conceit of bringing great plays to film. Too much of the directing is stage directing and I found the compulsive blocking and reordering of actors, sitting, then standing, then sitting again in other permutations, distracting and not kind to the medium. The constant refilling of glasses and clinking of ice in drinks is farcical, finally made into a bit by Martha, Liz Taylor's character. Taylor is simply one of the greatest female actors of all time. Her role as a flirtatious "braying" trainwreck of a hostess never gets tired to watch. On the other hand, Richard Burton's smug caddiness is unbearable. It is often misguided to dislike a film or novel because of a personal dislike for a specific character well-rendered, for that is the intent of such a character. My judgment of this movie is based on the initial impressions of a first viewing, with consideration to others who might consider renting this movie or deciding to stay up an extra two hours when they happen to find it on AMC at one in the morning. Burton's George taints it, especially as his cornering a young, dashing George Segal more and more resembles a soap opera villainess. The masterwork of Albee's pen is delightful under the microscope, but this film implores me to seek great films rather than good films of great plays. At the same time, not watching this is missing one of Taylor's greatest achievements. Which calls to mind Cat on a Hot Tin Roof, another great Taylor performance and a more bearable translation of stage to screen.

My rating of Who's Afraid of Virginia Woolf?: