Elizabeth Taylor - The Sandpiper (1965) DVDRip (SiRiUs sHaRe).avi (Size: 696.68 MB) (Files: 3)
Elizabeth Taylor - The Sandpiper (1965) DVDRip (SiRiUs sHaRe).avi
The Sandpiper (1965).rtf
The Sandpiper (1965)
Young Danny Reynolds and his mother Laura (Elizabeth Taylor) live an idyllic life near California's Big Sur. Laura teaches Danny at home. After Danny shoots a deer, authorities take the boy away to live and study in a parochial orphanage/school. The unwed mother is distraught. At first, the school administrator, Episcopalian Priest Dr. Hewitt (Richard Burton), finds the free-spirited Laura to be morally bereft and without redeeming value. Eventually, Laura and Dr. Hewitt fall in love and begin an illicit affair.
Elizabeth Taylor ... Laura Reynolds
Richard Burton ... Dr. Edward Hewitt
Eva Marie Saint ... Claire Hewitt
Charles Bronson ... Cos Erickson
Robert Webber ... Ward Hendricks
James Edwards ... Larry Brant
Torin Thatcher ... Judge Thompson
Tom Drake ... Walter Robinson
Douglas Henderson ... Paul Sutcliff (as Doug Henderson)
Morgan Mason ... Danny Reynolds
Director: Vincente Minnelli
Won an Oscar for Best Music (Original Song)
Codecs: XVid / MP3
Not only in "Cleopatra" but in her next two films as well, "The V.I.P.s," and "The Sandpiper," Taylor was more the world-famous celebrity and less the conscientious actress than at any other time in her career… The three movies exploit the public's fantasy of what the lovers must be like: tempestuous, as in "Cleopatra;" quarreling, on the verge of separation, as in "The V.I.P.s;" illicit lovers, defying the moral norms, as in "The Sandpiper."
As the ancient Queen of the Nile, as modern day grande dame, or as a hippie artist, Taylor is Taylor, hemmed in by her spectacular fame… The international celebrity, the world's most famous lover, takes over from the burgeoning actress of the Fifties, and Taylor walks through the movies as the fabled beauty she'd become rather than the high-strung Southern belle she had been before Rome…
Playing an unmarried woman who lives with her son exactly the way she wants to live, in harmony with the California coast, Liz Taylor, for once, gets to talk about ideas: her character proclaims the joys of independence and self-expression… Taylor is no Jane Fonda, alight with radical fervor, but the role does express something of herself; it lets us see a side of her that differs from the standard screen Taylor…
Here she's a 'new' woman, free and wise, who teaches a thing or two to a rigid churchman… The film's symbol is the sandpiper with a broken wing which she offers as proof that every creature should be allowed to fly free…
We know too much about her to believe her as a hedonistic artist who would dress so fashionably in such an impossibly expansive beach house... The character's broad humanistic philosophy—her objections to organized religion and to formal schooling, her advocacy of free love and her celebration of the naturalness of physical love—are, oddly enough, at the film's center…
The story that interrupts the characters ongoing declarations about life is the old number of a minister tempted by a beautiful woman… Bombarded by the artist's charms, the man succumbs, only to depart at the end, weighed down by, guilt and vowing to seek the way of repentance and purification…The movie's morality is thus a mingling of the old and the new…
The movie plays it both ways, admiring the woman's freedom and righteous self-justification, but making the clergyman pay dearly for his indulgence in forbidden fruit… It's an old Hollywood romance trying to masquerade as a love story in the modern manner…
Burton's prude is impossible and he plays him in a harsh oratorical manner, as if he's deadening himself to the pain of it all, but Taylor's character almost approaches being a real rebel with ideas… The movie exploits the public image of her as a challenger of conventions, but the role also gives her a chance to sound reasonably articulate about matters other than love… Under Vincente Minnelli's graceful guidance, Liz is sweet if not entirely convincing…
Taylor's physical allure is best captured by the wooden sculpture done by Kara for the film. Burton reprises a similar role to his magnificent one of a defrocked priest in "Night of Iguana"--only here he is not eventually defrocked. Burton is superb at showing internal turmoil and it is a shame that so many good performances, many of which were nominated for an Oscar (7 in all), were all bypassed by the Academy.
Minnelli must have cast Burton for the role after Huston's success with Burton in "Iguana". Taylor's agnostic rebellious life and Burton's religious moral life explode on contact and tower over all the other actors in this movie. Though Minnelli is respected for his direction, this effort of his will not be considered a major work.
Eva Marie Saint's role is elegant but not developed beyond the obvious--where are her sons mentioned in the dialogues? What's her relationship with them? Minnelli obviously took interest in the main plot, not the subplots--which is strange for an accomplished director.
The screenplay at times is very strong, e.g., with Burton's clever intonations of his repartees quoting the "Book of Proverbs" and the young child innocently reciting Chaucer in "Olde English". In retrospect the film had good tools: a good script and a good cast. But the tools in the hands of Minnelli did not sculpt a great Kara statue.
# According to Sammy Davis Jr. in his film memoir "Hollywood In A Suitcase" he was originally offered the role of Cos Erickson and even signed the contract, but had to withdraw owing to an early opening for his "Golden Boy" stage show.
# Average Shot Length = ~8.5 seconds. Median Shot Length = ~8.1 seconds. (Quite fast for a Vincente Minnelli film.)