Who's Afraid of Virginia Woolf? (1966)
2xDVD5 | ISO | PAL 16:9 | Cover | 02:05:36 | 4,36 Gb + 3,87 Gb
Audio: English AC3 1.0 @ 192 Kbps | Subs: English (+SDH)
Genre: Comedy, Drama
2xDVD5 | ISO | PAL 16:9 | Cover | 02:05:36 | 4,36 Gb + 3,87 Gb
Audio: English AC3 1.0 @ 192 Kbps | Subs: English (+SDH)
Genre: Comedy, Drama
Director: Mike Nichols
George and Martha are a middle aged married couple, whose charged relationship is defined by vitriolic verbal battles, which underlies what seems like an emotional dependence upon each other. This verbal abuse is fueled by an excessive consumption of alcohol. George being an associate History professor in a New Carthage university where Martha's father is the President adds an extra dimension to their relationship. Late one Saturday evening after a faculty mixer, Martha invites Nick and Honey, an ambitious young Biology professor new to the university and his mousy wife, over for a nightcap. As the evening progresses, Nick and Honey, plied with more alcohol, get caught up in George and Martha's games of needing to hurt each other and everyone around them. The ultimate abuse comes in the form of talk of George and Martha's unseen sixteen year old son, whose birthday is the following day.
IMDB - Top 250 #197 | Won 5 Oscars
Tempestuous, vitriolic, spiteful, ego-driven. These are all words which describe the marriage of George (Richard Burton) and Martha (Elizabeth Taylor) in Who's Afraid of Virginia Woolf?, scripted from the controversial stage production. These roots are quite obvious as the acts are played out and in this case the formula works perfectly, to have altered the script and timing would have destroyed some of the most accurate and painful dialogue that I've ever seen. The first scenes involve George and Martha alone after their return from a college party, hosted by Martha's father (the college President). Light insults are traded freely, together with moments of tenderness, indicating both the depths of their bond and the long years that they've spent together. However, instead of being able to retire and sleep off their inebriation it turns out that Martha has invited the new college professor and his wife over for drinks.
The young, deferential couple do arrive and they walk into the middle of an intellectual war-zone. George and Martha know each others weak spots intimately and they both exploit Nick (George Segal) and his wife (Sandy Dennis) in their attacks. Embarrassing moments from the past are raked up like decaying rubbish as the alcohol flows freely; grease for the lack of inhibition in this small college community. Nick and Honey have no desire to be part of this domestic spat and yet they are drawn deeper into the mire. The marital warfare increases through several climaxes as the young couple reveal wounds from their past, Martha flirts with Nick and George decides on the ultimate weapon.
In the final act George wants everyone to play a final game - the night has been a string of games in which George and Martha are equal protagonists - where he can drop the final bombshell. The emotional fallout from this is intense and somehow gives rise to an exhausted calm during which the sun rises and the long night is over.
The outstanding feature of this harrowing movie is the ensemble acting. Burton and Taylor provoke outstanding performances from each other as the sparks fly, while Segal and Dennis are no less impressive in their roles as emotional foils. The script is equal to this intensity with no lulls and some moments which are hyper-realistic in their depiction of domestic strife. Perhaps the stage origins will put off some viewers but I hope not, otherwise they'll miss scenes which may just be reminiscent of the Burtons real family life! "Truth or illusion?".
Though Who’s Afraid of Virginia Woolf? was originally written for the stage by Edward Albee where the action was restricted to one room, Mike Nichols’ conversion of the play to the screen (in his debut film) is often excitingly cinematic. After an impressively photographed title sequence that shows the beleaguered couple George and Martha (Elizabeth Taylor and Richard Burton) as stumble drunkenly home after a party, the film begins properly when with their arrival. For the next two hours, most of our time is spent stuck with these two in this setting as they snipe at each other and two guests that drop by. Martha’s first words upon entering her home are, “What a dump!” which she reveals as a quote from an old Betty Davis vehicle, which she describes as “some goddamn Warner Brothers epic,” in her typically larger than life manner. This is a terribly crass thing to say, especially considering Virginia Woolf? is itself a Warners’ epic, but its release signified something of a milestone in Hollywood history. Its vulgar language set a precedent for a Hollywood raciness, and on one occasion when Martha bellows, “Goddamn,” everything seems to pause for a moment, so the word can attain its proper resonance.
The film’s title refers to be the punch line of a joke that’s carried on far past the point where it could still consider it funny (almost a metaphor for the movie, but there’s no denying the humor here), but every time it’s brought up, the characters still laugh at it, desperate for some levity. This isn’t surprising considering the circumstances. The tone of the movie is bad at its start, and it rarely brightens as the film proceeds. It seems impossible that this mood could be sustained for an entire movie until you realize that George and Martha have managed to do just that for years. Nichols occasionally offers us a moment of silence by pulling us out of the action, but it only keeps us from being numbed, since he invariably thrusts us back into the fray. The barbs that the characters throw at one another are at once hilarious and harrowing. There’s something riotous about a movie from this era thinking this material is fodder for humor. There are great dynamics between the each of the characters, and as the night progresses and laundry is aired, each of them takes turn in the role of aggravator, wounded victim, and aloof observer.
Nichols’ camera is never an aloof observer, though. It’s almost always stuck in the middle of the emotional battlefield, and it’s usually far too close for comfort. Even when they finally leave the claustrophobic confines of their living room, the film’s settings are still constraining. There are moments that could be mistaken for quiet respite after each of the evening’s climaxes, but we soon realize that they are only setups for further revelations. The single night that the movie takes place over feels interminable and endless, but it earns the hell that it puts us through by never compromising its vision of it. It’s no small consolation when a surprising amount of tenderness is revealed to be lurking underneath all of the bile.
Though the film is seemingly focused on the marital ambivalence of its characters, it has as much to say about parental oppression, even if it does so in a less overt manner. Blaming family problems for personal psychoses was something of a fad in the 50’s, and Albee’s play, could easily be interpreted as a comedy underneath all of its tragic pinnings that pumps those notions up until they burst apart. Unearthing the sins of the father and the skeletons in the closet becomes a parlor trick here. George is only observable as such a massive failure because Martha ceaselessly compares him to the unseen specter of her father. The relationship between the couple and their own child is key to understanding how the two of them function.
The performances are uniformly stellar. The early reference to Bette Davis is appropriate since Taylor exudes the same mix of sensuality and authority here that made Davis a star, but with an undercurrent of alcoholic desperation that deepens it. Resigned, but not so much that he’s lost his cynicism, Burton’s George might be even more vividly realized. He uses his intelligence to guard himself from the world, and twists logic to make a mockery of it. George Segal and Sandy Dennis round out the cast admirably, and it’s no great surprise that Woolf was the first film to receive an Oscar nomination for each of its credited cast members (Taylor and Dennis went on to win). It’s a suitable honor for what is easily one of the best Hollywood films of the ‘60s.
Special Features:
DISC ONE:
- The Film
- Audio commentary with director Mike Nichols and filmmaker Steven Soderbergh
- Audio commentary with cinematographer Haskell Wexler
DISC TWO:
- "Elizabeth Taylor: An Intimate Portrait" -documentary (from 1975 - 66:41 min)
- "Who’s Afraid of Virginia Woolf?: A Daring Work of Raw Excellence" -featurette (20:12 min)
- "Who’s Afraid of Virginia Woolf?: Too Shocking for Its Time" -featurette (10:35 min)
- "1966 Mike Nichols Interview" -featurette (8:58 min)
- Sandy Dennis Screen Test (6:53 min)
- Theatrical Trailer (2:11 min)
* German and Spanish audio and all subs, except English, are removed
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