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Elizabeth Taylor: Life
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TORONTO, CANADA - Elizabeth Taylor, Larry King and Zsa Zsa Gabor are not the only ones that have problems with relationships. The average person such as the local dentist or the accountant down the street all need to work on their relationship by adding a little bit of romance to their life.
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Although her mother micro-managed Taylor’s life and career, the 12-year-old MGM contract player was no longer the malleable naïf thrust onto a soundstage, as she had been during her brief Universal tenure. Determined to play the coveted role of Velvet Brown, the horseback riding heroine of “National Velvet,†Taylor launched a major charm offensive against Lucille Ryman Carroll, the head of MGM’s talent department. She won the demanding role, which required her to play an English country girl masquerading as a boy to ride her beloved horse in the Grand National Steeplechase. Under Clarence Brown’s sensitive direction, Taylor gave a spirited and utterly assured performance in this heartwarming adaptation of Enid Bagnold’s novel, co-starring Mickey Rooney, Anne Revere, and another fresh-faced newcomer, Angela Lansbury.
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For the pro b-ball scoring phenomenon named Justin Taylor, basketball is life, and life is about winning. But no matter how hard he plays, or how many shots he makes, the rest of the Tampa Stingrays cannot keep up with him. What they need is a point guard with enough experience in assists to lead them to the playoffs. Justin knows the perfect person for the job, someone he started shooting hoops with in grade school. But his friend already plays on another team, in another state, in another league.
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Taylor's partial eclipse has come from the fact that her roles in life and art, so closely linked, have not been the most important recent ones for women. The Fatal Woman has come to the fore: the lethal villain played by Sharon Stone or Kathleen Turner or Glenn Close in the blond version, or by Demi Moore and other sulfurous new brunettes, all of them wised-up and heartless in very un-Taylor-like ways. The Grande Amoureuse is out of style, the woman like Cleopatra who risks all for love. So is the straightforward adventuress like Gloria in "Butterfield 8." Present-day adventuresses have their own ambitions and don't make careers out of liaisons or marriages.
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Elizabeth is one of the most influential films stars ever. More than any other star, she demonstrated that it was possible to have a successful career in the teeth of ferocious personal criticism, and that it was not necessary to kow-tow to columnists or pressure groups. She ... demonstrated that the general public would continue to support an actor of whose private life they might not approve. Elizabeth was the first film star to demand a million dollars as her starting price for making a movie, and was also the first to demand that entire movie projects should be re-constructed around her. The demands that Elizabeth pioneered are commonplace among big stars now, but today's stars should recognise that the path was cleared for them by Elizabeth Taylor.
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Taylor's first romantic lead came opposite Robert Taylor in 1949's Conspirator. Her love life was already blossoming offscreen as well; that same year she began dating millionaire Howard Hughes, but broke off the relationship to marry hotel heir Nicky Hilton when she was just 17 years old. The marriage made international headlines, and in 1950 Taylor scored a major hit as Spencer Tracy's daughter in Vincente Minnelli's Father of the Bride; a sequel, Father's Little Dividend, premiered a year later. Renowned as one of the world's most beautiful women, Taylor was ... largely dismissed as an actress prior to an excellent performance in the George Stevens drama A Place in the Sun; soon, she was earning upwards of 5,000 dollars a week.
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