In sixteenth century Padua, Hortensio loves Bianca, the youngest daughter of Baptista. But Baptista will not allow the two to get married until his eldest daughter, the extremely headstrong... See full summary »
A girl is saved by a miracle after she falls from a cliff in the Argentine Andes, and is blessed with healing powers. A shrine is built on the site, and a whole city grows around it, rich ... See full summary »
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Charles 'Buddy' Rogers,
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Edward Everett Horton
Erudite manservant Jeeves hopes to keep his frivolous employer Bertie out of new harrowing adventures, but a damsel in distress, carrying half of some mysterious plans, intrudes on their ... See full summary »
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Musical comedy antics in an art deco bakery (motto: "Glorifying the American Doughnut") with Eddie Cantor as an assistant to a phoney psychic, who is mistaken for an efficiency expert and ... See full summary »
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Angela Tritchell is the daughter of a tooth-paste manufacturer, Rufus K. Twitchell, who has monopolized the business for many years that he has grown conservative, and his rivals have begin... See full summary »
In sixteenth century Padua, Hortensio loves Bianca, the youngest daughter of Baptista. But Baptista will not allow the two to get married until his eldest daughter, the extremely headstrong Katherine, is betrothed. This task seems impossible because of Katherine's shrewish demeanor. They believe their prayers have been answered with the arrival from Verona of the lusty Petruchio, whose father has just passed, leaving him to travel the world and marry. Having not yet met her, Petruchio agrees to court Katherine when he is told of her beauty and wit. Petruchio is even more excited at the prospect of marrying this wildcat of a woman after meeting her. Katherine will have none of it, even if it means her sister's spinsterhood, but has no choice but to marry him. Beyond the fact of the marriage itself, Katherine is even more irked by Petruchio's less than conventional behavior at the ceremony and post ceremony bridal feast. Each starts to play what they consider sly games of oneupsmanship ... Written by
In her later years, Mary Pickford stated that working on the film was the worst experience of her life, although she also acknowledged that Douglas Fairbanks's performance was one of his best. See more »
By 1929 the fabled marriage of Douglas Fairbanks and Mary Pickford was foundering on the rocks, but a last ditch effort to save it was to do a joint project, the only one of their career. It would be released by United Artists the company that they and Charlie Chaplin and D.W. Griffith had founded.
I noted that Mary Pickford was the producer of the film and as such she awarded herself first billing. Why Fairbanks did not do something more along his line is a mystery. But in choosing The Taming Of The Shrew, the subtleties of the Bard eluded them both.
As the tamer Petruchio, Fairbanks is way beyond his depth, but I will say that he does bellow through the part with some conviction. He also handles a whip with the skill of Lash LaRue.
But poor Mary is absolutely lost. Her appeal was always innocence personified on the screen. She could be rebellious when called upon like in The Hoodlum, but that's a far cry from Kate the shrew. When rebelling Mary still looks like she's hoping Daddy will rescue her.
The film did make money, a lot of people paid to see Fairbanks talk on screen, Mary had actually won an Oscar for her sound film debut in Coquette. But this version of Shakespeare, edited down considerably by director/writer Sam Taylor, has not worn well through the ages. I'd really recommend seeing that other fabled couple of Richard Burton and Elizabeth Taylor do their's.
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