User reviews

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

Nothing has been spared, production wise, with THE V I P'S. They sure don't make them like this anymore. While the story is a bit of a soap opera, some of the acting is quite good for a film of this ilk. Elizabeth Talor and Richard Burton are so-so, as is Orson Welles and Louis Jourdon. Less of them would have made a better film. The Airport in London is fogged in and the story focuses on a few of the V I P'S. Love triangles prevail as well as money issues for most of the people. It's kind of a ala GRAND HOTEL of sorts. The best thing about the movie is Maggie Smith (a jewel of a performance) and the lush music. How nice to hear a reacurring theme which is no longer used in todays films. The DVD transfer is super and while I wouldn't want to own the film, it's a great rental.

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.

A product! That's what this is. Beautifully wrapped but inside, a potential for heartburn. Richard Burton and Elizabeth Taylor at the height of their popularity then, are hopelessly dated now. But, the Maggie Smith and Rod Taylor story is just great. Moving and funny. Orson Welles in another piece of self indulgence and self parody is priceless and so is the Academy Award winner Margaret Rutherford. Louis Jourdan, poor thing, as a gigolò - still, he spends the entire film, thinking that he'll be able to take Elizabeth Taylor away from Richard Burton - All that makes the film, almost sink. But put up with them to enjoy the rewards of Rod, Maggie, Orson and Margaret dealing with Terence Rattigan's enjoyable dialogue.

but a fascinating melodrama also. This was the first movie Liz Taylor and Richard Burton made as a married couple.

The story is by Terence Rattigan who apparently based it on a scene he observed in the VIP lounge of London Airport when Vivien Leigh made plans to run away with Peter Finch and was stopped by her husband, Laurence Olivier.

It is well filmed, way ahead of its time in certain segments where other minor characters are playing in the background of the scene, a continuum not employed in movies until the nineties (this was filmed in the early 60s).

Some of the script is a hoot, the fact that Liz and her lover are running away without ever having "made love". Richard and Liz both overact dramatically. But the cast make it well worth watching.

Maggie Smith is particularly vulnerable as a secretary, she is yet to find the acerbic edge that laces her subsequent movies. Margaret Rutherford is particularly good as a Duchess who has to go earn a living in America to save her stately home. More scenes with her would have been a treat.

7 out of 10, totally watchable and almost sinful in the enjoyment of same, it is just so deliciously shallow.

Although Burton and Taylor were supposedly the stars of this film. Margaret Rutherford, as the Duchess of Brighton and Maggie Smith as the tractor guy's secretary really stole the film for me.

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.

Much of the action focused on a romantic triangle involving a pampered wife, a wealthy husband, and a penniless playboy lover…

Liz once again is the neglected wife, comforting herself with a lover (Jordan)… When the destitute husband is threatened by his wife's departure who has given her diamonds instead of affection, Burton shows he cares… Liz, unyielding however; wants him to suffer…

Taylor's performance is cool and serene… Her face undisturbed by normal human expression… Playing an instigator of male insecurity, she is, for a change, altogether lovely to look at…

Maggie Smith plays the trusty secretary in love with her Australian boss Rod Taylor… Orson Welles's arrogant character provides the comic relief… Margaret Rutherford won a Best Supporting Oscar for her delightful role as the eccentric elderly duchess

Except for Margaret Rutherford's wonderful performance (Oscar-winning), this bloated star fest is horrible, especially Elizabeth Taylor (in her worst performance), Rod Taylor, and Elsa Martinelli. Burton is acceptable and Welles is amusing, but what a script! A 4 out of 10. Best performance - Richard Burton. They made a lot of these character epics in the 60's and this one is the worst of the melodramatic lot; even the music sounds like it's from Ben-Hur. What a misguided waste of costumes and airport sets. I'm sure everyone was paid for a fortune for this mess and it's disgraceful. Maggie Smith is lovely as R. Taylor's loyal and loving secretary.

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.

If you are thinking this may be a disaster movie such as the (1972) The Poseidon Adventure, (1974) The Towering Inferno, and/or (1997) The Titanic, you would be wrong. The V.I.P.s is a soap opera that outlines four (4) vignettes that take place at a London airport that has these interesting passengers grounded unexpectedly as follows:

1. Love Triangle Elizabeth Taylor, Richard Burton, and Louis Jourdan are the three (3) figures with Richard Burton being the wealthy tycoon who ignores his wife Elizabeth Taylor so she falls "out of love" with Richard and into the charming hands by default of the addicted gambler and male gigolo Louis Jourdan with the end of their respective relationships being delivered via the exchange of two (2) letters.

2. Save my corporation Rod Taylor and Maggie Smith are in a desperate battle to save Rod's tractor manufacturing corporation from an imminent takeover bid. Maggie who plays Rod's able executive assistant though is more interested in saving Rod's heart than his bank account.

3. Save my estate Margaret Rutherford (best known for her role as Agatha Christie's female sleuth Miss Jane Marple) is attempting to board her flight from London to Florida to take a meaningless job in an effort to save her families estate and especially her gaudy and outdated castle.

4. Save my film production company Orson Welles and his latest film star Elsa Martinelli seem to have nothing going for them but smoke and mirrors as the famed film director and wannabe film star respectively. So Orson has to be out of London and in Switzerland to avoid the taxman, but since their flight is delayed he and his accountant come up with an alternative plan once again to save his film production company.

Although this will never be a film classic the all star cast will keep you interested in their separate stories and more importantly how their stories end. I give the film a decent 6 out of 10 rating. No harm, no foul.

'Grand Hotel' but set in the V. I. P lounge of Heathrow Airport where an all-star cast, (Elizabeth Taylor, Richard Burton, Louis Jourdan, Orson Welles, Rod Taylor, Maggie Smith, Margaret Rutherford), are holed up waiting for a flight to New York that's been delayed by fog and each with their own reasons, (romantic, financial), for getting out of the U. K. as fast as possible. It was a prestige production and no mistake, directed by Anthony Asquith and with a (not that) original screenplay by Terence Rattigan and even when the material is weak the cast more than carry it.

Welles is a hoot as a tax dodging movie producer. There's an excellent early performance from Maggie Smith as a secretary in love with her boss Rod Taylor but it's Margaret Rutherford who walks off with the picture and a richly deserved Oscar as the penurious Dutchess of Brighton. The central plot about Taylor leaving Burton for Jourdan is a bit of a bore but for the most part this is surprisingly good fun.

The V.I.P.s is directed by Anthony Asquith and written by Terence Rattigan. It stars Richard Burton, Elizabeth Taylor, Louis Jordan, Rod Taylor, Maggie Smith, Orson Welles, Elsda Martinelli and Margaret Rutherford. Filmed in Panavision and Metrocolor, music is by Miklos Rozsa and cinematography by Jack Hildyard.

Terminal 2, London Heathrow Airport, and fog has grounded the flights of some very important people. Time, then, for truths to out and futures resolved...

Cheque book generosity.

Disliked by critics upon release but a hit at the box office, The V.I.P.s is a throwback to the days when ensemble star power could carry a melodrama through to its conclusion. The performances of the actors, playing well to do characters facing up to some tribulations in life, are most enjoyable (nice to see Rod Taylor actually being Australian, Smith owning the film and Rutherford being Rutherford) and even though there's some silly moments within Rattigan's screenplay, there's enough quality drama and warmth to make the near two hour running time bearable. Besisdes, I never thought the sight of Richard Burton signing a cheque could make me feel so happy! 7/10

This is basically a soap-opera decorated like a Christmas tree with a prominent cast.

There are two plots and two non-plots. The non-plots, with Orson Wells and Rutherford, are uninteresting. From the two "plot-plots", the one with Rod Taylor and Maggie Smith is solid, though very predictable, and the one with the love triangle Burton-Taylor-Jourdan is soap-operatic though not tedious, as it may have easily turned out. The film is basically kept afloat - after a boring first 15-20 minutes - by R.Taylor, Smith, and Burton. Jourdan is average, and Elizabeth Taylor, though not bad, simply plays herself, and in the process does her distressed-rich-princess routine yet again.

If you want to read parodies/biographies of Welles, Taylor, and other Hollywood nitwits, contact me by e-mail.

Fogged-in British airport is besieged with a collection of characters awaiting their respective flights. Not a good idea for a movie--not even for a soap opera--though it does give Supporting Oscar winner Margaret Rutherford a jaunty opportunity to kick up her heels as a befuddled Duchess, and Orson Welles nearly steals the show as an egotistical filmmaker. Reteaming of Elizabeth Taylor and Richard Burton post-"Cleopatra" doesn't ignite sparks, but they are gorgeous together. Polished production does pick up after a slow start; it's professional but inert, and mostly unexciting. Directed by Anthony Asquith, who might've been dozing behind the camera. ** from ****

Lush, plush, silly but fun. Everyone is terribly rich and terribly troubled but of course everything is happily resolved in just two hours, if you like that sort of thing this is for you. Liz and Dick are the featured couple of course but theirs really isn't the most compelling vignette. Still Elizabeth looks great and Burton is appropriately intense. Orson Welles is aboard in a plot that doesn't go anywhere until the end but he adds an amusing performance to the film so it isn't that much of an intrusion. The two best bits belong to Rod Taylor and a very young Maggie Smith, who is excellent-she gives the film's second best performance but the absolute standout is Margaret Rutherford in an Oscar winning part as a dotty but oddly touching Duchess who has to go to work to save her home. She's utterly brilliant, the very definition of what a supporting performance should add to a film.

This flick is most often characterized as a big screen soap opera-and that's true. But don't let it dissuade you, as the performances of all major characters are at worst pleasing and in fact superlative. In particular, Richard Burton yet again shines, reminding us of the injustice of his never winning a best actor Oscar-supporting or leading.

Soap opera set at a fog-bound London airport where various characters have to get out of the country soon or they'll be trouble. Nice to look at and a pretty good score...but that's about it. Some of the acting is very good (Smith, Taylor and Rutherford) but most of it is bad verging on terrible (Burton especially). The stories are predictable and the actors don't speak like normal human beings--also there are twists in the story that are beyond belief (witness the Smith/Taylor story). Passable time-filler but nothing more.

What an interesting premise! The V.I.P.s starts out like every other disaster movie, with lots of big name stars arriving at the airport. Everyone has a very good reason for wanting to get on the plane, so naturally, you assume that the disaster will happen once everyone's in the air. Actually, the disaster happens before that: all flights are delayed to due weather! Since no one can get on the airplane, their plans are seriously derailed.

Real life spouses Richard Burton and Elizabeth Taylor play a married couple, but after he sees her off to her flight to Jamaica, we find out she's actually planning on flying to New York with Louis Jourdan and eloping with him! She's left Dick a note at home for him to find after she's gone, so with a flight delay, she gets understandably very nervous. Rod Taylor, with his natural Australian accent, is disturbed by a bad business deal, and he and his devoted secretary Maggie Smith have to try and fix it with long-distance phone-calls from the airport. Margaret Rutherford is mysterious and unusually attached to her luggage, and is in a great hurry to get in the air. . . And a flamboyant Orson Welles is anxious to fly to film his next motion picture with his leading lady Elsa Martinelli.

Louis Jourdan says, "I have a feeling the next hour is going to drag a bit. What are we going to do with it?" when there is almost exactly one hour left in the film. It's the little things in life that count! The V.I.P.s have a few cute sweet moments, but it's mostly a very tense drama that puts just as much strain on the audience's emotions as the characters. I highly recommend it!

Though this movie is best know as a Richard Burton-Elizabeth Taylor vehicle, I wanted to watch it because it featured Margaret Rutherford's Oscar-winning role. I had previously seen the delightfully ditzy Dame (she really was a Dame) in Blithe Spirit and The Importance of Being Earnest, and she was fabulous in both, so I was eager to see her here. It was to my semi-disappointment that she was typecast for The V.I.P.s too, even if she excels at being scatterbrained. Hence her Oscar victory is more of a body of work thing, I reckon, 'coz she would've been just as deserving for the other two movies.

Anyway, the movie's reminiscent of Neil Simon's works because it's about a collection of stories about a bunch of people stuck in an airport (and subsequently the airport hotel) due to weather delays. I would have to say that the personalities overshadow the characters, what with stars like Burton, Taylor, Rutherford, and the hammy Orson Welles. It was also one of Maggie Smith's first movie roles, and already she had that... Maggie Smith-ness in her. Even if I didn't get much out of the movie plot, it was lovely to watch the collection of luminaries.

I have no idea how you came to The V.I.P.'s, whether it was following Margaret Rutherford or Orson Welles, both of who are funny in this, but I hope you didn't come for Liz and Dick, whose storyline most resembles a movie plot, but is a dull love triangle. The only value of this movie is in the generous time each of its cameo stars get. Orson Welles for instance has multiple scenes, maybe adding up to 15 minutes screen time, I'd be curious to calculate it. They are all little scenes, but add up to a decent amount of value for the Orson Welles completionist. He plays a probably gay film producer who talks like Akim Tamiroff and is having some kind of nebulous trouble with the film he's making. Margaret Rutherford is really fun. She has this kind of batty effortless humour to her. Louis Jordan is infuriating. Rod Taylor is a stereotypical aggressive Aussie, at least the accent is good, because its genuine! Check out Orson in The Southern Star (1969) for the worst Aussie accent I've ever heard. I could try and tell you The V.I.P.'s isn't that great of a movie, but you've clearly gone pretty deep in whatever it is you're interested in, you may as well check it out. For fans of Orson or Rutherford I'd say sure, add it to your collection.