IMDb > Who's Afraid of Virginia Woolf? (1966)
Who's Afraid of Virginia Woolf?
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Who's Afraid of Virginia Woolf? (1966) More at IMDbPro »

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Who's Afraid of Virginia Woolf? -- Trailer for this classic film based on the play

Overview

User Rating:
8.1/10   43,286 votes »
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Up 1% in popularity this week. See why on IMDbPro.
Director:
Writer:
Ernest Lehman (screenplay)
(more)
Contact:
View company contact information for Who's Afraid of Virginia Woolf? on IMDbPro.
Release Date:
22 June 1966 (USA) See more »
Genre:
Tagline:
You are cordially invited to George and Martha's for an evening of fun and games. See more »
Plot:
A bitter aging couple with the help of alcohol, use a young couple to fuel anguish and emotional pain towards each other. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Won 5 Oscars. Another 22 wins & 18 nominations See more »
NewsDesk:
(10 articles)
Elizabeth Taylor: 1932-2011
 (From IMDb News. 23 March 2011, 7:51 AM, PDT)

Elizabeth Taylor Passes Away
 (From Huffington Post. 23 March 2011, 7:12 AM, PDT)

Elizabeth Taylor Dies At Age 79
 (From Cinema Blend. 23 March 2011, 6:16 AM, PDT)

User Reviews:
probably one of the best arguments for why AA should exist; volatile, overwrought drama at its richest See more (216 total) »

Cast

  (in credits order) (verified as complete)

Elizabeth Taylor ... Martha

Richard Burton ... George

George Segal ... Nick

Sandy Dennis ... Honey
rest of cast listed alphabetically:
Agnes Flanagan ... Roadhouse Waitress (uncredited)
Frank Flanagan ... Roadhouse Manager (uncredited)

Directed by
Mike Nichols 
 
Writing credits
Ernest Lehman (screenplay)

Edward Albee  play (uncredited)

Produced by
Ernest Lehman .... producer (uncredited)
 
Original Music by
Alex North (music composed by)
 
Cinematography by
Haskell Wexler (director of photography)
 
Film Editing by
Sam O'Steen (film editor)
 
Production Design by
Richard Sylbert 
 
Set Decoration by
George James Hopkins 
 
Costume Design by
Irene Sharaff (costumes designed by)
 
Makeup Department
Gordon Bau .... makeup artist: Miss Taylor
Ron Berkeley .... makeup artist: Mr. Burton (as Ronnie Berkeley)
Sydney Guilaroff .... hair styles creator: Miss Taylor
Jean Burt Reilly .... supervising hair stylist
 
Second Unit Director or Assistant Director
Bud Grace .... assistant director
 
Art Department
Craig Binkley .... set dresser (uncredited)
Harold Michelson .... storyboard artist (uncredited)
Joseph Musso .... production illustrator (uncredited)
 
Sound Department
M.A. Merrick .... sound
George Groves .... sound recordist (uncredited)
 
Camera and Electrical Department
Frank Flanagan .... gaffer (uncredited)
Ralph Gerling .... camera operator (uncredited)
Robert Jason .... electrician (uncredited)
Michael A. Jones .... rigging gaffer (uncredited)
Robert Willoughby .... special still photographer (uncredited)
 
Costume and Wardrobe Department
Joan Joseff .... costume jeweller (uncredited)
 
Music Department
Alex North .... conductor
Robert Bain .... musician: guitar (uncredited)
Henry Brant .... orchestrator (uncredited)
Dan Wallin .... music scoring mixer (uncredited)
 
Transportation Department
Frank Khoury .... driver: cast (uncredited)
 
Other crew
Richard Barr .... produced on the stage by
Doane Harrison .... production advisor
Hal W. Polaire .... assistant to the producer (as Hal Polaire)
Meta Rebner .... script supervisor
Clinton Wilder .... produced on the stage by
Wayne Fitzgerald .... title designer (uncredited)
T.J. Healy II .... production assistant (uncredited)
Herbert Ross .... choreographer (uncredited)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Edward Albee's Who's Afraid of Virginia Woolf?" - USA (complete title)
See more »
Runtime:
131 min
Country:
Language:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:16 | Australia:M | Canada:R (Nova Scotia) | Canada:AA (Ontario) | Czech Republic:12 | Finland:K-16 | Netherlands:12 (2007) | Netherlands:18 (1967) | Norway:16 | Portugal:17 (original rating) | Singapore:PG | South Korea:12 | Sweden:15 | UK:X (original rating) | UK:12 (video rating) (2009) | UK:15 (video rating) (1988) | USA:TV-MA (TV rating) | USA:Approved (cut) (Suggested for Mature Audiences) (certificate #21074) | West Germany:18 (f) (original rating) | West Germany:16 (f) (re-rating)

Did You Know?

Trivia:
Richard Burton was heavily criticized for playing his character with an English accent.See more »
Goofs:
Revealing mistakes: As George and Nick are coming back into the house from their scene in the garden, Nick's shadow on the porch is seen to suddenly disappear just before George enters the shot.See more »
Quotes:
George:Good. Better. Best. Bested.See more »
Movie Connections:

FAQ

In the script, Martha references Davis and quotes her famous "What a dump!" Which film actually contains the line?
What is the the significance of the title, Who's Afraid of Virginia Woolf?
See more »
31 out of 42 people found the following review useful.
probably one of the best arguments for why AA should exist; volatile, overwrought drama at its richest, 4 January 2008
Author: MisterWhiplash from United States

Who's Afraid of Virginia Woolf leaves no scabs or stones unturned with the characters. George and Martha are a couple who have a marriage that is truly love-hate. They can never be called too unemotional, though to say whether or not they're being truthful at all in the 'games' they play with married Nick and Honey is a little trickier. Martha invited them- at her father's insistence (he IS the chairman of the university where George and Nick are professors)- at two in the morning for a quick drink. Or rather, make that many drinks, like chain drinking, if one could call it that, where George and Martha prove themselves as pros in that area, with bitter slinging of enraged bouts of bile at one or the other.

This goes on the rest of the night, also leading to a roadhouse on the way to drive a flustered Nick and hammered Honey home, and then it starts all over again, with Nick and Honey picking up the tortured and, as well, fractured personalities of this middle-aged couple. Bitter, enraptured, hateful, and, in a way, also sort of filling a void, George and Martha become two of the most powerful characters in modern drama.

Edward Albee's play is full of the kind of stinging dialog that made it controversial in the 1960s, and today it still retains its potential for hitting its characters on to the audience in a shockingly overwrought and, in connection with this, very funny manner. How can one not cringe and give a laugh of relief/perplexity when George goes to get a shotgun after getting p-o'd by Martha and then opening it up to everyone's shock as... an umbrella!

There's a dementia to these characters, but it's one that makes for the kind of drama that is lacerating and, as off-putting as the guessing game that the son element becomes in the equation (dead or not dead?), it somehow works. This was before most dramas of today, which are made with that big colossal twist that suddenly jolts the characters into perspective. Here, it just makes them more human and fallible and deconstructed. As Mike Nichols directs it, he doesn't shy from getting personal with his angles, close and intrinsic as, in a weird way comparable with, Bergman's Persona, also released that year.

What Nichols and Albee present for audiences is a logical next step following other plays from before them that broke ground from the likes of Miller, Beckett and, especially, Williams- it's more adult, or rather more for mature audiences (the first quasi rated R movie ever released), and it hits to a cynical nerve that was further gestating by this time in America, that everything would not be alright in the American marriage, that something, as Martha says, will "SNAP!"

It should also be mentioned, acting here is classic, fearless. Burton and Taylor have rarely been as good as they are at digging so deep into these characters that, especially with Burton, we can't imagine these people being anyone else. It takes a little to get used to Segal and Sandy Dennis (the latter because her character isn't quite as "deep" as the others), but then again their characters are the uncomfortable outsiders, "us" as one might say (however, as the play peels the layers away from the characters they're all rotten and ultimately very vulnerable instead of just "normal").

It packs a punch, it jiggles its little glass full of bourbon or brandy or gin, and as a first feature from its director it could only get better from here. It's a dangerously fun, dangerously emotionally violent picture. Will look forward to seeing it next time it's on TV

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George's story - the boy in the bar ErinWard
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The worst idea ever would be ... jrhpax
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