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
When Petruchio asks for Katharina's hand, he makes a globe rotate. But the continents are perfectly drawn on it while the action is clearly set in the 15th century. See more »
I knew you at the first. You were a moveable!
Why, what's a moveable?
A stool like this!
[she kicks out the stool he was sitting on, and he falls on the floor]
Then sit on me!
[he pulls her down on his lap]
Our asses are made to bear and so are you!
[she punches him]
Women are made to bear and so are you!
Not such a load as yours if me you mean!
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After the names of the screenwriters are listed,it reads: With acknowledgements to William Shakespeare without whom they would have been at a loss for words. See more »
Colorful and comic - Taylor and Burton are well matched.
There is no denying Franco Zeffirelli's visual sensibility, nor his dramatic strength. He takes this Shakespearean comedy, chops and cuts and edits the text to his liking, and regurgitates a wonderful film. If one were to watch the film without sound, it would still be entertaining, that is how well Zeffirelli put it together. But it wouldn't be enough without a terrific Kate, and Elizabeth Taylor, certainly in her prime in 1967, more than fills the bill. She hams it up when hamming is appropriate to the moment, and plays it with more subtlety when that is required. She is well matched by Richard Burton as Petruchio. He is good, but there is something not quite there. I think perhaps he seems more jaded and a tad less calculating than I'd expect in the role. I think I prefer the more caustic performance of John Cleese in this role.
I can't help but wonder what Zeffirelli would've done with an operatic version of this play.
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