★ 7 / 10
Never mind Virginia Woolf, she's a lightweight compared
CinemaSerf
Never mind Virginia Woolf, she's a lightweight compared to "Martha" (Elizabeth Taylor) as "Nick" (George Segal) and his wife "Honey" (Sandy Dennis) are about…
Never mind Virginia Woolf, she's a lightweight compared to "Martha" (Elizabeth Taylor) as "Nick" (George Segal) and his wife "Honey" (Sandy Dennis) are about to discover for themselves. They've already been at a faculty do with her and husband "George" (Richard Burton) and have gone round after for a nightcap. That's their first mistake as a vitriolic battle of sarcastic and venomous wits is just getting started between their hosts. Initially they are sympathetically embarrassed but then that morphs into something a little more participative as the brandy and the bourbon starts to take effect on everyone. In vino vertitas has never been more true as it emerges that the older couple have a son, the other bugger, and it's clear from early on that something on that front is not right. The younger couple are not immune from the prevailing toxicity and before long they are also starting to question some of what underpins their own relationship. As tempers flare, things become even more unpleasant - even violent, as there are no holds barred and psychological cruelty becomes the benchmark for just about all of them. I saw this on stage and loved it. On the big screen, Mike Nicholls has used his cinematic advantages to make it even more potent. By using the cast together, splitting them off into pairs, changing the location from their increasingly small living room, occasionally involving an innocent bystander to temporarily lessen the stress levels and even pouring some coffee into them, we tell a remarkably hard-hitting story of grief. A festering, poisonous emotion that when not dealt with can grow to throttle just about any relationship - especially if the vintner is on it, too. Taylor and Burton excel, there's no other word for it. Her performance makes the hair on the back of your neck stand up and is perfectly foiled by the more understated but just as brutal characterisation of "George" by a Burton rather benignly bedecked in his middle-aged cardigan - but don't be fooled. Though the plot doesn't focus so much on the others at the start, both Segal and a strong effort from Dennis come into their own too as the ghastliness of their new friends proves contagious and noxious. It's also directed as if we were watching from various points in the room, which adds extra impact as we see things from differing perspectives - but always with a horribly natural flow. It often comes across as a continuous stream of filming akin to how it would be presented live on a stage. This is cinema at it's most visceral with compelling characterisations and dialogue that really does hurt. Maybe don't watch if you've just had a row, or a few drinks, or both? No remakes, please.
Read full review
★ 9 / 10
"...total war..."
elvircorhodzic
WHOS's AFRAID OF VIRGINIA WOOLF? is a drama film with the elements of black comedy, that on the violent and honest way indicates marital frustration and…
WHOS's AFRAID OF VIRGINIA WOOLF? is a drama film with the elements of black comedy, that on the violent and honest way indicates marital frustration and psyche, through the alcoholism, aging, cynicism and sterility. A dangerous double game becomes more intense and urgency with environmental changes. Simply, we are going through an intimate experience, which is seasoned with an excellent acting. The problem occurs in the moment, when we realize, how much is this experience, as a matter of fact, sincere and painful.
George, an associate history professor at a small New England college, and Martha, the daughter of the university president, live in an unstable and violent marriage. After they return home drunk from a party, Martha reveals she has invited a young married couple, whom she'd met at the party, for a drink. Their guests are Nick, a biology professor, and his wife, Honey. The hosts are engaged in a cruel verbal duel. The younger couple is first embarrassed and later enmeshed. After an evening of a sadistic, perversely hilarious and dangerous clashes", a painful truth comes to the light.
Mr. Nichols keeping his camera close, so that, violent emotions, defeats and cramps on the faces of the actors come to the fore. The direction is excellent, because it is very difficult to draw the line between passion borders and boundaries of a nervous breakdown. The characters are lost in a futile and desperate struggle, which celebrates a kind of demonic love in an attempt to save a bad marriage.
The characterization is excellent and fully corresponds with sharp dialogues and gloomy atmosphere.
Elizabeth Taylor as Martha is definitely a major figure in this film with her acceptance of gray hair and her use of profanity. It is difficult to accept that such a beautiful face hides a violent and so crazed but again, fragile and deeply wounded character. Richard Burton as George is worthy as a her counterweight. He is not a victim, he is the husband who is tired of everything, while he tries to put all the things in the right place. The couple has offered an excellent performance.
George Segal as Nick is a young man who moves between confusion, arrogance and dominance in their relations. Sandy Dennis as Honey is his bland wife. She is not up to this unscrupulous game.
This is a brutal clash between unhappy spouses who move the boundaries of inhumanity, while they skillfully flee from the truth.
Read full review
95%
TOMATOMETER
· 43 reviews
90%
AUDIENCE
· 10K ratings
8.0/10
84.1K
•••
One of the greatest Burton & Taylor films; understanding their rocky alcohol-soaked marriages; this film could be one of those "add alcohol; act naturally" movies; straight out of one of their benders & subsequently famous & memorable Hollywood brawls...