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The Taming of the Shrew (1967)

Approved | | Comedy, Drama, Romance | 8 March 1967 (USA)
Brutish, fortune-hunting scoundrel Petruchio tames his wealthy, shrewish wife, Katharina.

Director:

Franco Zeffirelli

Writers:

William Shakespeare (play), Paul Dehn (screen play by) | 2 more credits »
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Nominated for 2 Oscars. Another 7 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Elizabeth Taylor ... Katharina
Richard Burton ... Petruchio
Cyril Cusack ... Grumio
Michael Hordern ... Baptista
Alfred Lynch ... Tranio
Alan Webb Alan Webb ... Gremio
Giancarlo Cobelli Giancarlo Cobelli ... The Priest
Vernon Dobtcheff ... Pedant
Ken Parry Ken Parry ... Tailor
Anthony Gardner Anthony Gardner ... Haberdasher
Natasha Pyne Natasha Pyne ... Bianca
Michael York ... Lucentio
Victor Spinetti ... Hortensio
Roy Holder ... Biondello
Mark Dignam ... Vincentio
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Storyline

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 alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

The motion picture they were made for! See more »

Genres:

Comedy | Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Italy | USA

Language:

English

Release Date:

8 March 1967 (USA) See more »

Also Known As:

William Shakespeare's The Taming of the Shrew See more »

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Box Office

Budget:

$4,000,000 (estimated)

Gross USA:

$8,000,000

Cumulative Worldwide Gross:

$12,000,000, 31 January 1970
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

70 mm 6-Track (1973 UK re-release)| Mono (Westrex Recording System)| 4-Track Stereo (35 mm prints)

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Ian Ogilvy and Michael York were both vying for the role of Lucentio, and were both auditioning in Rome at the same time. See more »

Goofs

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 »

Quotes

Petruchio: I've come to wive it wealthily in Padua. If wealthily, then happily, in Padua.
See more »

Crazy Credits

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 »

Alternate Versions

70 mm and some 35 mm film prints feature an overture before the start of the film with a purple flower background and white words on it reading "OVERTURE" (this is not included on non-letterboxed video prints). This overture can be heard on letterboxed video prints on LD, DVD and some broadcast editions, including Turner Classic Movies. See more »

Connections

Version of La mégère apprivoisée (1964) See more »

Frequently Asked Questions

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User Reviews

 
snarling/alluring, struggling yet desiring
23 August 2009 | by christopher-underwoodSee all my reviews

This is a great Shakespeare movie that the man himself would surely approve of. It has just the right mix of action and dialogue and if the light dims a little during the scenes without the Burtons, certainly Michael Hordern keeps his brightly lit. Michael York and Natasha Pyne are inexplicably weak after their brilliant early moments. But maybe it just is that the two main performances are so captivating, we really only wish to see them. Some find fault with the acting of Elizabeth Taylor but I'll hear none of it. Her early scenes of wild madness are fantastic as are her slightly less confident scenes as she finds herself the object of the chase. The scene I remember most from my original 60s cinema viewing is that of the pair wrestling on the bed of feathers having fallen through the roof. Watching this again at a BFI South Bank, London screening in a packed audience I can surely see why. Pure electricity as the snarling/alluring, struggling yet desiring 'shrew' begins to succumb to the power of the male above her. Great moments, great music, excellent sets and a tremendous if controversial final speech.


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