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The setting is London, and Frances Andros (Taylor), the wife of shipping magnate Paul Andros (Burton) says goodbye to her husband at the airport, where he thinks she is bound for Jamaica. After he leaves, it is revealed that she is meeting her new love Marc Champselle (Jourdan), a notorious international playboy who has fallen head over heels in love with her. Both are going to eschew their old lives and fly to New York, but are dismayed to discover that their plane is grounded due to heavy fog. Unfortunately, Frances has chosen to let Paul know about her plans via a "Dear John" note that she leaves at their house, and of course, Paul (influential in both money and power) comes back to the airport to demand his wife's return. Also inconvenienced by the fog is Les Mangrum (Taylor), an Australian businessman who has been fighting with a larger company for months to avoid a corporate takeover, and finally has the number of shares needed; until one of his associates turns against him and sells him out to the new company, forcing Mangrum to write a bad check on the share price difference. Thinking he can have another associate cover his check before the act becomes a bona fide felony, Mangrum knows that if he can get to New York in time for the board meeting everything will be okay, but the plane delay quashes all hope for this. Mangrum decides to spend one last night in London drinking champagne and living the high life with his trusty, loyal and prim secretary Miss Mead (Smith), who is secretly in love with him. Two other story arcs that aren't as prominent involve Max Buda (Welles), an acclaimed film director traveling with starlet Gloria Gritti (Martinelli) who finds himself forced into the position of marrying her, despite his obvious contempt, in order to save millions in taxes. And finally there is The Duchess of Brighton (Rutherford) an elderly eccentric who is flying to Miami in order to work on a project that will pay her enough to keep her large castle, despite the fact that she doesn't want to leave London. All of the above players are first ensconced in the airport's VIP lounge, and later, an airport hotel, where their personal dramas (and foibles) all play out and work themselves out, one way or another.

I had read an article about this film in Vanity Fair a couple of years ago, and it detailed various behind-the-scenes facts about the film, namely the burgeoning romance between Burton and Taylor, who were the Jolie/Pitt of their day, only on an exponential scale. Their chemistry in this film is very pervasive, and really add depth to both of their characters. Surprisingly, I found that Taylor and Smith had an enormous amount of synergy, most of it due to Smith's portrayal of Miss Mead as mousy, yet practically bursting at the seams with respect and love for Mangrum. Margaret Rutherford, who is a revered British stage and screen actress, won an Academy Award for her funny, yet slightly heart-breaking portrayal of a woman with a title and not much else. The only story line that I found obnoxious was the Orson Welles/Elsa Martinelli one. It contained so little depth and such a minimal amount of compelling moments that I found myself getting annoyed whenever I had to waste precious viewing time watching their story arc rather than being able to watch more of the other well-written, well-acted ones contained in the film. Admittedly, Orson Welles is a long-time hero of mine, and there were times when his sarcastic portrayal of the pompous director made me chuckle, but those moments didn't save his scenes in the slightest.

"The V.I.P.s" is as lush and colorful as a Sirk film, and Taylor is decked out in glamorous gowns and furs, but I was shocked to find myself really becoming wrapped up in the story lines and the acting, whereas I had planned on watching a fluff piece that had a bunch of attractive people enacting what would essentially be a soap opera with a multi-million dollar budget. Critics in 1963 expected to marginalize the film the same way I did, and were surprised (and not always pleased) to find that "The V.I.P.s" is actually quite a good film. A lot of the stars of the film had already done some of their most recognizable and lauded work by the time this film had been released, Smith would achieve a great amount of recognition within a couple of years, and Rutherford was at the tail end of her life, but all of them (with the possible exception of Welles and Martinelli, though I believe a lot of it was the material they were given) pulled together to make a film that is surprisingly compelling, very well acted and unfortunately, mostly forgotten. 7/10 --Shelly

When I was in my teens I well remember all the publicity surrounding Elizabeth Taylor, from her serious illness, to her Oscar for Butterfield 8, to the various problems with Cleopatra and finally all the kanoodling with Richard Burton. No film star before or since had the media attention the way Ms. Taylor did.

When Cleopatra was in its editing stages and there sure was a lot of footage to edit, the publicity was too good to take advantage. Taylor had been off the screen since 1960. I'm sure that Anthony Asquith the director had this project that became The VIPS in mind for some time while Cleopatra was still being shot.

It was all shot at Heathrow Airport so there were no sets to build so the money was spent on getting a top rate cast. Orson Welles, Elsa Martinelli, Dennis Price, Robert Coote, Michael Hordern, Rod Taylor, Maggie Smith, Linda Christian, Louis Jourdan and the Best Supporting Actress of 1963 Margaret Rutherford join Liz and Dick.

A bunch of VIP passengers are stuck at the airport due to fog and we see their stories unfold in a Grand Hotel style plot. Orson Welles is an extravagant producer and I'm sure he borrowed bits from Alexander Korda, Dino DeLaurentis, and himself in a very outrageous portrayal of a man trying to leave Great Britain before the income tax nails him. His tempestuous Italian star Elsa Martinelli figures in the solution to his problem.

And Welles figures in the solution to Margaret Rutherford's problem. She's an impoverished and widowed Duchess who is leaving her home to settle in Florida. She's bright and funny and her portrayal is very much like Helen Hayes who won a second Academy Award for playing a little old eccentric lady in Airport.

Taylor and Burton oddly enough have the weakest story in the film. He's a billionaire tycoon who's wife Elizabeth Taylor is running off with a playboy gigolo portrayed by Louis Jourdan. Burton is as offended as Orson Welles was in Citizen Kane when Susan Alexander was running away from Charles Foster Kane. It's his pride more than anything else. It's a humbling experience.

My favorite story in The VIPS occurs with Aussie businessman Rod Taylor who is the victim of a cash flow problem as a result of beating back a hostile takeover. Linda Christian is his socialite jetsetting wife and Maggie Smith his loyal private secretary. It's one of the few times Rod Taylor has ever played someone from his native country on screen.

Though Margaret Rutherford got an Oscar, in my opinion the best portrayal in The VIPS goes hands down to Maggie Smith. She is so touching as the prim and proper Ms. Meade who is crushing out big time on her boss.

The Burton-Taylor story intersects with the Rod Taylor story when Smith spots Burton at the airport and corners him for help on behalf of her boss. She explains Rod Taylor's problems to Burton and of course she doesn't know of the personal crisis he's going through. Their scene is the highlight of the film.

Richard Burton was later reported to say that when he saw the finished film and saw Maggie Smith with him on the screen that she was guilty of grand larceny for her scene stealing. He said it with a smile and chuckle in admiration for her talent. I think you'll agree with him.

It's a good film, The VIPS, filled with characters you become involved with though they are hardly likely to be ones you come in contact with in your daily life.

Seven years before "Airport," there was this similarly laid out, lush MGM soap, which wasn't produced by Ross Hunter but looks like it could have been. The stars, the fashions, the mid-century-modern sets, the Miklos Rosza themes grinding and repeating in the background, all speak to a more innocent, more optimistic time. And best of all, while Hunter had only Perlberg and Seaton to bring Arthur Hailey's novel to the screen, MGM had the super-literate, super-crafty Terrence Rattigan to provide his own original story, expertly plotted out to afford a plethora of wide-screen star-gazing. Elizabeth Taylor, resplendent in St. Laurent, is about to leave Richard Burton for lounge lizard Louis Jourdan, but their plane is fogged in at Heathrow and Burton catches up to them, allowing for some civilized sniping between the two men, neither of whom seems good enough for her. Meantime, Dino di Laurentiis-like producer Orson Welles has to be out of Britain by midnight to escape some tax burdens; duchess Margaret Rutherford is headed unhappily to a new job in Florida to pay expenses for her Brighton mansion; and tractor maker Rod Taylor, subject to a hostile takeover, needs 150,000 pounds to cover a bad check, in which he's ably assisted by his plain-Jane secretary, Maggie Smith (all Janes should be this plain). Rattigan's epigrammatic screenplay darts dazzlingly between the four story lines, and he's instinctively fair-minded; nobody's all good or all bad, and even Linda Christian, as Rod Taylor's shallow girlfriend, isn't entirely reprehensible. Everybody's great fun to watch, and interesting people like Michael Hordern and Robert Coote and David Frost can be glimpsed in supporting roles, but the movie really belongs to the two Maggies. Rutherford picked up a supporting Oscar for playing essentially what she'd been playing for the previous 25 years, but who deserved it more, and she's not only pricelessly funny but unexpectedly touching. And Smith, silently loving her boss Rod Taylor (and who wouldn't), effortlessly steals a particularly good scene from Burton, bringing on the third act and walking off with the rest of the movie. Deep it isn't, and Rosza's themes feel a little obvious (I grew to hate that cutesy-English strain underlying every Rutherford scene), but what a luxuriously entertaining ride. That the prime storyline is based on Rattigan's own observation of the Vivien Leigh-Laurence Olivier-Peter Finch triangle being played out at the airport a few years before only adds to our sumptuous enjoyment.

The beautiful people, the jet set, or let's just call them by their names - Liz and Dick. They are the cornerstone of this luscious, glamorous cream puff about the elite stranded at an airport.

There's Liz, the unhappy wife of the filthy rich Burton, getting ready to run away with playboy Louis Jourdan; Margaret Rutherford, on her way to work in Florida so she can keep her estate afloat; Orson Welles as a filmmaker, who has to leave London by midnight or be stuck with $1 million in taxes; Elsa Martinelli as his bratty star; Rod Taylor as man about to lose his business; Maggie Smith as his secretary suffering from unrequited love for her boss.

It doesn't get much better than this in terms of star power. Taylor is gorgeous with a wardrobe to match, Rutherford delightful, and Burton, Jourdan, and Rod Taylor all at their handsome bests. Maggie Smith gives a lovely, very touching performance, adding reality to this superficial story.

This is a marvelously entertaining film, done back in the days when a film budget went for a star cast and wardrobe and not special effects. The original star with Burton was to be Sophia Loren, but Taylor piped up and said she'd do it. It was made rather quickly to beat "Cleopatra" to the box office and cash in on Burton and Taylor's hot love affair.

Terrence Rattigan based his story on a true account of Vivien Leigh running away with Peter Finch and Olivier managing to stop them because their flight was delayed.

As another user has said, I love this movie. I too saw it multiple times in theatres (the first Dick/Liz film made it a must-see at the time) and have played the grooves off the laserdisc. DVD anyone????

In the classic "Grand Hotel" style, the film follows several A stories and several more B stories during one night, fogged in at Heathrow. Though the script has some dreadful stuff, there are moments throughout the movie which seem indelibly etched on my mind: Burton's face as he sits in the hotel lobby, every Smith/Taylor scene, every Rutherford scene, every Welles scene.

Am I the only one who enjoys good melodrama? This one is so rich with such beautiful people, gorgeous clothes and glorious character actors, it has to be fattening.

I love the score, the sets, the richness of the colors and the way so many of these actors are captured in their absolute prime. I don't remember any film that wasn't a costume drama that shows off Liz's beauty any better. Rod Taylor, always handsome, often underrated, has some marvelous moments. And despite some pretty maudlin scenes, you get some idea why Liz fell for Burton so hard.