Recent college graduate Benjamin Braddock is trapped into an affair with Mrs. Robinson, who happens to be the wife of his father's business partner and then finds himself falling in love with her daughter, Elaine.
Baptista, a rich Paduan merchant, announces that his fair young daughter, Bianca, will remain unwed until her older sister, Katharina, a hellish shrew, has wed. Lucentio, a student and the son of a wealthy Pisan merchant, has fallen in love with Bianca. He poses as a tutor of music and poetry to gain entrance to the Baptista household and to be near Bianca. Meanwhile, Petruchio, a fortune-hunting scoundrel from Verona, arrives in Padua, hoping to capture a wealthy wife. Hortensio, another suitor of Bianca, directs Petruchio's attention to Katharina. When Hortensio warns him about Katharina's scolding tongue and fiery temper, Petruchio is challenged and resolves to capture her love. Hortensio and another suitor of Bianca, Gremio, agree to cover Petruchio's costs as he pursues Katharina. Written by
In the film, Katharina's angry line to Bianca "[tell] whom thou lovest best" (which Shakespeare actually wrote and which is grammatically correct) is changed to the grammatically incorrect "whom thou dost lovest best". In his review of the film, critic John Simon caught the error. See more »
Come, come, you wasp! In faith you are too angry!
If I be waspish, best beware my sting!
My remedy then is to pluck it out!
Hah! If the fool could find where it lies!
Who knows not where a wasp doth wear his sting? In his tail!
In his tongue!
Yours! -if you talk of tales, and so farewell!
What? With my tongue in your tail?
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Instead of the screen credit "The End" appearing at the end of the film, the line "God give you goodnight" appears, after which the rest of the closing credits are seen. See more »
Elizabeth Taylor and Richard Burton at their peak are a joy to behold--they
infuse this gorgeous film of "The Taming of the Shrew" with so much life and
energy, that it becomes a wonderful, bouyant, three-ring circus of entertainment. The sets and costumes of Zeffirelli's meticulously recreated Renaissance Italy are ravishingly beautiful. Each scene is composed like a painting--and Nino
Rota's score complelemnts the film perfectly. His melodies ring in the air long after the film has ended. Shakespeare would have been delighted.
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