Download Furious Love: Elizabeth Taylor, Richard Burton, and the by Sam Kashner, Nancy Schoenberger PDF

By Sam Kashner, Nancy Schoenberger

The definitive tale of Hollywood's most renowned couple.

He used to be a tough-guy Welshman softened by means of the affections of a breathtakingly attractive girl; she used to be a modern day Cleopatra head over heels in love along with her personal Mark Antony. for almost 1 / 4 of a century, Elizabeth Taylor and Richard Burton have been Hollywood royalty, and their fiery romance—often referred to as "the marriage of the century"—was the main infamous, publicized, and celebrated love affair of its day.

For the 1st time, Vanity Fair contributing editor Sam Kashner and acclaimed biographer Nancy Schoenberger inform the full tale of this larger-than-life couple, displaying how their romance and marriages commanded the eye of the area. additionally for the 1st time, in specific entry given to the authors, Elizabeth Taylor herself provides never-revealed info and firsthand bills of her lifestyles with Burton.

Drawing upon brand-new details and interviews—and on Burton's inner most, passionate, and heartbreaking letters to Taylor—Furious Love sheds new gentle at the video clips, the intercourse, the scandal, the celebrity, the brawls, the booze, the sour separations, and, in fact, the fabled jewels. It bargains an intimate glimpse into Elizabeth and Richard's privileged global and their elite circle of neighbors, between them Princess Grace, Montgomery Clift, the Duke and Duchess of Windsor, Peter O'Toole, Michael Caine, Marlon Brando, Rex Harrison, Mike Nichols, Laurence Olivier, Robert Kennedy, Tennessee Williams, NoËl Coward, John Huston, Ava Gardner, the Rothschilds, Maria Callas, and Aristotle Onassis. It offers an pleasing, eye-opening examine their movies, their wildly profitable reign in Europe and in Hollywood—and the fee they paid for his or her extravagant lives.

stunning and unsparing in its honesty, Furious Love explores the very public marriage of "Liz and Dick" in addition to the non-public struggles of Elizabeth and Richard, together with Le Scandale, their affair at the set of the infamous epic Cleopatra that earned them condemnation from the Vatican; Burton's hardscrabble early life in Wales; the crippling alcoholism that almost destroyed his profession and contributed to his early demise; the clinical concerns that plagued either him and Elizabeth; and the failed aspirations and disgrace that haunted him all through their courting. As Kashner and Schoenberger remove darkness from the occasions and offerings that formed this illustrious couple's tale, they exhibit how the mythical pair presaged America's altering attitudes towards intercourse, marriage, morality, and star. but finally, because the authors express, Elizabeth and Richard shared anything necessary past the drama: enduring love.

Addictive and unique, Furious Love is greater than a celeb biography; it's a decent but sympathetic portrait of a guy, a lady, and a fondness that stunned and mesmerized the realm.

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Additional resources for Furious Love: Elizabeth Taylor, Richard Burton, and the Marriage of the Century

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The Critically Aware Spectator Critical responses to Michael Haneke’s oeuvre make it clear, then, that there is something problematic about his films for the spectator. This problem is perhaps best articulated by Amos Vogel, when he writes that, ‘the extremities to which Haneke goes in withholding information are ultimately difficult to take or define’. 64 It seems that the spectator of Haneke’s films is at once manipulated and forced to be autonomous, and, as we saw in the last chapter, this creates a very peculiar position for them, one that is often experienced as uncomfortable, even distinctly unpleasant.

29 In this statement, there are clear echoes of modernism’s hostility to mainstream culture and the Althusserian position that sees dominant cultural forms as vehicles of ideology, positioning the spectator as its unwitting victim – a position that we will discuss in more detail in subsequent chapters. Such statements make it explicit that Haneke is not drawing on the formal conventions of modernism, but allying himself with its fundamental theoretical principles. His films belong to a modernist tradition both in form and intention, conforming to many of the categories that Peter Wollen sets out in his call for a modernist ‘counter-cinema’,30 as we shall discuss in Chapter Two.

The auteur is a spectator effect linked to unpleasurable film viewing: the spectator, made uncomfortable by the cinematic experience that they participate in, sees not just the film, but also its author, as the source of this unpleasure. So the author emerges through the film: indeed as an imagined figure he is a product of the film – the reel Haneke – just as, as a real object, the film is a product of an individual film-maker – the real Haneke. The tendency to equate the two is perhaps natural.

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