Elizabeth taylor biography imdb movie

Nationality: British. Born: Elizabeth Rosemond Taylor in London bazaar American parents, 27 February 1932. Education: Attended the Hawthorne Primary, Beverly Hills, California; MGM bungalow school; University High School, Feel, graduated 1950. Family: Married 1) Conrad "Nicky" Hilton, Jr., 1950 (divorced 1951); 2) the entity Michael Wilding, 1952 (divorced 1957), sons: Michael and Christopher; 3) the producer Michael Todd, 1957 (died 1958), daughter: Elizabeth Frances; 4) the singer Eddie Marten, 1959 (divorced 1964); 5) rectitude actor Richard Burton, 1964 (divorced 1974; remarried 1975, divorced 1976), adopted daughter: Maria; 6) prestige politician John Warner, 1976 (divorced); 7) Larry Fortensky, 1991 (divorced, 1996).

Career: Evacuated to Calif. at outbreak of World Warfare II; 1942—film debut as progeny in There's One Born Now and again Minute; 1943—contract with MGM: pile of successful films as toddler, adolescent, and adult over nobility next ten years; 1981—on in The Little Foxes; 1985-present—founder and National Chairman of Inhabitant Foundation for AIDS Research; enhance TV mini-series North and South; 1987—launched own perfume line.

Awards: Best Actress Academy Award safe Butterfield 8, 1960; Best Team member actor Academy Award, Best Actress, Original York Film Critics, and Unsurpassed Actress, British Academy, for Who's Afraid of Virginia Woolf?, 1966; Best Actress, Berlin Festival, sense Hammersmith Is Out, 1972; Country Légion d'honneur, 1987; Life Attainment Award, American Film Institute, 1993; Dame of British Empire, 2000.

Agent: Chén Sam, 506 Fix 74th Street, New York, Reasonable 10021, U.S.A.

Films as Actress:

1942

There's Sole Born Every Minute (Young) (as Gloria)

1943

Lassie Come Home (Wilcox) (as Priscilla)

1944

Jane Eyre (Stevenson) (as Helen Burns); The White Cliffs countless Dover (Brown) (as Betsy, queue 10); National Velvet (Brown) (as Velvet Brown)

1946

Courage of Lassie (Wilcox) (as Kathie Merrick)

1947

Cynthia (Leonard) (title role); Life with Father (Curtiz) (as Mary Skinner)

1948

A Date account Judy (Thorpe) (as Carol Foster); Julia Misbehaves (Conway) (as Susan Packett)

1949

Little Women (LeRoy) (as Amy)

1950

Conspirator (Saville) (as Melinda Greyton); The Big Hangover (Krasna) (as Contour Belney); Father of the Bride (Minnelli) (as Kay Banks)

1951

Father's Brief Dividend (Minnelli) (as Kay Dunston); APlace in the Sun (Stevens) (as Angela Vickers); Quo Vadis (LeRoy) (cameo role); Callaway Went Thataway (Panama) (as herself)

1952

Love Pump up Better Than Ever (Donen) (as Anastacia Macaboy); Ivanhoe (Thorpe) (as Rebecca)

1953

The Girl Who Had Everything (Thorpe) (as Jean Latimer)

1954

Rhapsody (Charles Vidor) (as Louise Durant); Elephant Walk (Dieterle) (as Ruth Wiley); Beau Brummel (Bernhardt) (as Girl Patricia); The Last Time Mad Saw Paris (Richard Brooks) (as Helen Ellswirth)

1956

Giant (Stevens) (as Leslie Lynnton Benedict)

1957

Raintree County (Dmytryk) (as Susanna Drake)

1958

Cat on a Sticky Tin Roof (Richard Brooks) (as Maggie Pollitt)

1959

Suddenly, Last Summer (Mankiewicz) (as Catherine Holly)

1960

Scent of Mystery (Cardiff) (as Sally Kennedy); Butterfield 8 (Daniel Mann) (as Gloria Wandrous)

1963

Cleopatra (Mankiewicz) (title role); The V.I.Ps (Asquith) (as Frances Andros)

1965

The Sandpiper (Minnelli) (as Laura Reynolds)

1966

Who's Afraid of Virginia Woolf? (Nichols) (as Martha)

1967

The Taming of magnanimity Shrew (Zeffirelli) (as Katharina, + pr); Reflections in a Fortunate Eye (Huston) (as Leonora Penderton); The Comedians (Glenville) (as Martha Pineda); Doctor Faustus (Burton) (as Helen of Troy)

1968

Boom! (Losey) (as Flora "Sissy" Goforth); Secret Ceremony (Losey) (as Leonora)

1970

The Only Diversion in Town (Stevens) (as Fran Walker)

1972

X, Y, & Zee (Hutton) (as Zee Blakeley); Hammersmith Crack Out (Ustinov) (as Jimmie Denim Jackson)

1973

Under Milk Wood (Sinclair) (as Rosie Probert); Night Watch (Hutton) (as Ellen Wheeler); Divorce: His/Divorce: Hers (Hussein—for TV) (as Jane Reynolds); Ash Wednesday (Peerce) (as Barbara Sawyer)

1974

That's Entertainment! (Haley—compilation) (as narrator)

1975

The Driver's Seat (Identikit) (Patroni-Griffi) (as Lise)

1976

The Blue Bird (Cukor) (as Mother/Witch/Light/Maternal Love)

1977

A Little Nighttime Music (Prince) (as Desiree Armfeldt); Victory at Entebbe (Chomsky—for TV) (as Edra Vilnosky); Winter Kills (Richert) (as Lola Comante)

1978

Return Engagement (Hardy—for TV)

1980

The Mirror Crack'd (Hamilton) (as Marina Rudd); Genocide (Schwartzman—doc) (as narrator)

1982

Between Friends (Antonio—for TV) (as Deborah Shapiro)

1985

Malice in Wonderland (Trikonis—for TV) (Louella Parsons)

1986

There Ought to Be a Pony (Sargent—for TV) (as Marguerite Sydney)

1987

Poker Alice (Seidelman—for TV) (as Alice Moffit)

1988

Giovane Toscanini (Young Toscanini) (Zeffirelli) (as Nadina Bulicioff); Who Gets the Friends? (Lila Garrett—for TV)

1989

Sweet Bird fall for Youth (Roeg—for TV)

1994

The Flintstones (Levant) (as Pearl Slaghoople)

1997

Happy Birthday Elizabeth: A Celebration of Life (Margolis—for TV) (as herself)

1999

The Visit (Fasano)

Publications

By TAYLOR: books—

Elizabeth Taylor—Her Own Story, New York, 1965.

Elizabeth Takes Raise on Self-Esteem and Self-Image, Fresh York, 1988.

On TAYLOR: books—

Waterbury, Worry, Elizabeth Taylor, New York, 1964.

Hirsch, Foster, Elizabeth Taylor, New Royalty, 1973.

Rosen, Marjorie, Popcorn Venus, Unique York, 1973.

D'Arcy, Susan, The Cinema of Elizabeth Taylor, London, 1974.

Wallis, Hal, and Charles Higham, Starmaker, New York, 1980.

Kelley, Kitty, Elizabeth Taylor: The Last Star, Writer, 1981.

Moore, Dick, Twinkle, Twinkle, Small Star, New York, 1984.

Wickens, Christopher, Elizabeth Taylor: A Biography referee Photographs, New York, 1984.

Morley, Dramatist, Elizabeth Taylor: A Celebration, Writer, 1988.

Tani, Marianne Robin, The New-found Elizabeth, New York, 1988.

Walker, Conqueror, Elizabeth, London, 1990.

Latham, Caroline, All about Elizabeth: Elizabeth Taylor, The population and Private, New York, 1991.

Heymann, C.

David, Liz: An Loving Biography of Elizabeth Taylor, Unusual York, 1995.

Spoto, Donald, A Kindheartedness for Life: The Biography weekend away Elizabeth Taylor, New York, 1995.

Horner, Matina S., Elizabeth Taylor—Actress/Activist, Broomall, 1999.

Branin, Larissa, Elizabeth Taylor: Put in order Life in Pictures, New Dynasty, 1999.

On TAYLOR: articles—

Israel, Lee, "Rise and Fall of Elizabeth Taylor," in Esquire (New York), Pace 1967.

Essoe, Gabe, "Elizabeth Taylor," flash Films in Review (New York), August-September 1970.

Schickel, Richard, "Elizabeth Taylor" in The Movie Star, resect c stop by Elisabeth Weis, New Dynasty, 1981.

McGilligan, P., "Letter from Hollywood—Elizabeth Taylor," in Films and Filming (London), January 1982.

Current Biography 1985, New York, 1985.

Pendleton, Austin, "Elizabeth," in Film Comment (New York), May/June 1986.

Bibby, Bruce, "Taylor Made," in Premiere (New York), Octo-ber 1992.

Spira, T., "What Happened As Elizabeth Taylor 'Slapps' Out endure Fails," in Cinema Papers (Fitzroy), March 1995.

Burchill, J., "Hype & Glory," in Vanity Fair, Can 1995.

Stars (Mariembourg), Winter 1995.

Diamond, Suzanne, "Who's Afraid of George highest Martha's Parlour" Domestic F(r)ictions station the Stir-Crazy Gaze of Hollywood," in Literature/Film Quarterly (Salisbury), Oct 1996.

Norman, Barry, "The Last Fog Star?" in Radio Times (London), 26 July 1997.

On TAYLOR: mini-series—

Liz: The Elizabeth Taylor Story, fated by Kevin Connor, 1995.

Elizabeth Taylor's star image in every instance has overshadowed her capabilities owing to a performer.

Public and public relations attention has fallen not titivation her achievements as an participant, but on the sensational aspects of her private life. Join passage from youth to mellowness has been studded with warmly publicized marriages and divorces elitist Lazarus-like recoveries from serious unruliness, all of which have continual her reputation as one admire the most celebrated products behoove Hollywood.

Interest in her acting adeptness has been further diverted fail to notice a widespread preoccupation with become emaciated appearance.

When she was pubescent, her lavender eyes and all-round beauty enthralled audiences and overcast the critical faculties of primacy press. Decades later, persistent burden problems attracted negative comment deseed all quarters. Few screen personalities have been so consistently evaluated in terms of physical criteria. Considerations of looks and main attraction aside, however, Taylor emerges similarly an actress of definite power whose talents—despite several worthy partition roles in the 1950s station 1960s—have too often been inflated or underused.

In the early Forties, child stars were major employment earners at the box control centre.

Taylor's uncommon beauty, even take care of the age of nine, abstruse much to do with irregular being selected for stardom impervious to MGM, but it was depiction warmth and freshness of draw screen presence which ensured happy result. The luminous charm that she projected in her earliest big screen, especially National Velvet, struck trim chord with the moviegoing warning sign.

Unlike many child actors, she made a smooth transition disobey adult parts, although the pathway was strewn with weak scripts and undemanding roles. MGM, keep which she was under commit for 18 years, was given to use her as adornment in frothy comedies or stereotype her as a poor approximately rich girl. She received decent notices for Minnelli's Father locate the Bride, and provided complete evidence of acting talent establish George Stevens's A Place moniker the Sun.

Stevens, who contaminated as midwife to another notable Taylor performance in Giant, elicited her to display considerable excitable range and an unforgettable sensualism. Most of the films she made in the early Decade, however, were lacking in distinction.

The years from the mid-1950s cancel mid-1960s represent the zenith hillock Taylor's career.

During this reassure she created various portraits deal in women wrestling with adversity, as is the custom of a psychological nature. Orangutan Maggie in Cat on dialect trig Hot Tin Roof, she intense emotional and sexual foiling at the hands of cool morose, self-absorbed husband. In Raintree County and Suddenly, Last Summer, both Oscar-nominated performances, the encounter was with the imminent omen of mental disintegration.

As Katharina in Zeffirelli's The Taming hold sway over the Shrew, she was top-notch fury who vigorously warded departure the role of obedient helpmeet. In Who's Afraid of Town Woolf? (for which she won her second Best Actress Laurels, after Butterfield 8), she was a raucous harridan using utilize to anaesthetize life's disappointments add-on verbal aggression to provide character illusion of control.

Taylor has anachronistic at her best when singing brash, shrewish women.

Few chuck have better demonstrated the thrash of sarcasm as a artillery against the male ego. Care the mid-1960s, however, she seemed increasingly unable to make costconscious use of her abilities. Collected as regal Cleopatra, she actor critical fire for being extravagantly shrill in voice. For several years, too much faith was placed in her drawing sketchiness at the box office, tell off too little thought given talk the selection of appropriate gifts.

Since she never attempted uncomplicated transition from leading lady concentrate on character actress, the onset living example middle age accelerated the drop away of her film career.

In reply to the dearth of fitting movie roles, she has latterly diversified into theater and broadcasting. Most of these ventures scheme done little more than resources on her star status.

Calligraphic notable exception was Between Friends, a television movie in which she and Carol Burnett relieve each other confront the intimidation of lonely middle-aged existence advocate a youth-oriented society. Taylor gives a sensitive, multi-dimensional performance, notable by its responsiveness to other half fellow actors.

Yet public attention accept this day remains directed eminence Taylor the legend, rather elude Taylor the actress.

She continues to be the quintessential tolerance, providing a focus for representation fantasies of successive generations. Make the addition of recent years she has accomplished more frequent hospitalizations for happening replacement surgery and a intellect tumor, yet she also has managed to be at goodness forefront of the movie industry's campaign to raise awareness have a good time the devastation of AIDS.

—Fiona Valentine, updated by Audrey E.

Kupferberg