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Vendredi, juin 25th, 2010
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`The most elegant girl in town is the easiest to come by. Unbiased call Butterfield-8!’ So trumpeted the posters of this, Elizabeth Taylor’s first Oscar winning performance. The film is a modernization of the 1935 fresh by John O’Hara, which was based on the steady life of the 1920’s Original York City call girl Starr Faithful.
Miss Taylor was plain place against playing Gloria Wandrous. She felt was a deliberate play by M.G.M. to capitalize on her fresh notoriety in the Liz-Eddie-Debbie scandal. Also, she was anxious to recede on to her first ever million-dollar role in Fox’s Cleopatra. She was told by M.G.M that if she did not fulfill her contractual obligation to her home studio for one final film on her eighteen year contract that she would be kept off the conceal for two years and miss making Cleopatra all together. She swore to the producer Pandro S. Berman that she would not learn her lines, not be prepared and in fact not give anything more and a crawl through. Mr. Berman knew her better than she suspected. In the waste Elizabeth Taylor turned in a professional, classic traditional style Hollywood performance that ranks at the top with the best of her work. She brings a savage rage to live to her searing portrait of a lost girl soaked through with sex and gin. A woman hoping against all hope to score salvation in yet one last man. Weston Leggett, a man who is worse off than she is in the self-esteem department. In her frantic quest for a trim unusual life Gloria finds that the male establishment will not allow her to step out of her role as a high priced party girl. She is pigeon holed by her past and the narrow mores of the slow 50’s are not about to let her glide free. Not the bar-buzzards of Wall Street, not her best friend Steve who abandons her at his girlfriend’s insistence. Not even her shrink Dr. Treadman believes in her. The three women in her life are blind to who she really is. Her mother will not admit what Gloria has become. Mrs. Thurber will not possess she can ever change and Contented, the motel proprietor is too self enthusiastic in her maintain past to care who Gloria is She is the black Holly Golightly and this is the lurid red jelled Metro-Color Manhattan that is the flip side of Billy Wilder’s The Apartment (also 1960) . Wilder’s Unusual York is cynical. Liz’s tony East Side phone exchange rings only one arrangement, the hard design. This Modern York is dammed. Recrimination and death are Gloria’s final tricks, and she goes out in a melodramatic blaze that Douglas Sirk might have envied in space of his usually unsettling, unconvincing jubilant endings. In the kill we have a bravura performance by the last proper star of the dilapidated system. Yes she deserved the Oscar more for `Cat’. Yes it was given to welcome her abet from the brink of death in London. And even Shirley MacLaine’s lament on Oscar night, `I lost the Oscar to a tracheotomy.’ can not diminish this must examine performance by Miss Taylor.
In what one could call a perfect example of what an `Oscar scene’ is all about she says it all. `I loved it! Every poor moment of it I loved. That’s your Gloria, Steve. That’s your precious Gloria!’ She gave it to us with both barrels blazing, and M.G.M., and Berman be dammed.
“Butterfield 8,” directed by Daniel Mann, is basically a trashy soap opera. Elizabeth Taylor plays Gloria, a booze-guzzling, … promiscuous young woman who becomes eager with an unhappily married businessman (Laurence Harvey) . The opening scenes well assign the film’s vibe: the yarn is saturated with cigarettes, alcohol, money, expensive fur, sex, and fury.
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That said, I found B8 to be a wonderfully exciting and surprisingly spicy film. The scrumptious dialogue is fat of memorable lines (like the one I frail for the title of this review) . The characters zap each other with some biting insults. A typical exchange between two characters: “Oh mother, don’t be rude.” Response: “Vulgarity has its uses.”
The entire cast is solid, but this is undeniably Taylor’s film. She takes what could have been a campy caricature and instead gives Gloria true depth and humanity. By the destroy of the film I was really engrossed in Gloria’s personal whisk. B8 may not be a spacious Hollywood classic, but it’s a astronomical showcase for the legendary Taylor.
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