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In 1983 Richard Burton and Elizabeth Taylor appeared together on stage for the first and only time in Noel Coward's comedy PRIVATE LIVES. Although critically panned, it sold out for its entire run on Broadway, with audiences flocking to see the sight of two legendary figures bickering with one another. William Ivory's screenplay tells the story of that theatrical performance, focusing in particular on Taylor's (Helena Bonham Carter's) gradually disintegrating state of mind, as she realizes that Burton (Dominic West) has abandoned her for good in favor of his new wife Sally Burton (Cassie Raine). Bonham Carter gives a creditable impersonation of Taylor, even though she lacks that mysterious quality that kept Taylor in the public eye for so many years; in this performance, Taylor comes across as a bit of a hopeless drunk with a penchant for upstaging Burton. West's Burton seems like a dedicated actor; despite his love of money and the Hollywood high life, he never lost his professionalism, even in an obvious turkey like this PRIVATE LIVES, in which Taylor seldom knew her lines and often consciously departed from the script, in full knowledge that the audience didn't give a fig. So long as she appeared on stage, then the houses would remain packed; if she was absent, the box-office suffered as a result. In the end, however, both of them seem rather pathetic figures, mere shadows of their former selves at the height of their popularity during the mid-Sixties. We can't help feeling sorry for two actors who were so fond of the limelight that they never knew when to give up: Burton kept wanting to play King Lear, even though he was both physically and mentally ill-equipped to do so. BURTON AND TAYLOR seems like a requiem for two great stars reduced to mere museum exhibits.

Richard Burton and Elizabeth Taylor were the cinema's official Golden Couple of the sixties. Even today, two years after Taylor's death and nearly thirty after Burton's, they still live on in the popular imagination as one of the most famous and glamorous couples of the twentieth century, outdone in that respect possibly only by John and Jackie Kennedy and King Edward VIII and Wallis Simpson. This film, made for the British TV channel BBC Four, does not tell the full story of their relationship (there is a great film to be made on that subject!) but concentrates on their last joint acting venture in 1983, seven years after the second of their two divorces.

The venture in question was a theatrical production in New York of Noel Coward's play "Private Lives", a production advertised under the slogan "Together Again!" On the one level, that slogan could be taken as a reference to Coward's principal characters Elyot and Amanda, a former husband and wife who meet several years after their divorce and realise that they still love one another. The theatre management obviously realised, however, that their advertisement could also be taken as referring to Burton and Taylor themselves, another former husband and wife meeting several years after their divorce. The production was not a great hit with the critics, but was very popular with the theatre-going public who loved the parallels between Elyot and Amanda and the actors portraying them. There was even a curious coincidence in the fact that Elyot's new wife in the play is named Sybil- the same name as Burton's first wife whom he left for Taylor

The fictitious Elyot and Amanda might end by rediscovering their love, but this does not quite happen to their real-life equivalents. Certainly, the film implies that Elizabeth Taylor was still very much in love with her ex-husband and was hoping to marry him for the third time. (If a second marriage can be described as the triumph of hope over experience, what does that say about a third marriage, especially a third marriage to the same party?) Burton, however, was less keen, partly because he had fallen in love with Sally Hay, who became his fourth wife (and does not appear in this film), and partly because the reunion with Taylor reminded him forcibly of just why they split up. By this stage of his life Burton, once one of Hollywood's most notorious hellraisers, was now recovering from alcoholism, whereas Taylor was still drinking as heavily as ever. The two clash repeatedly during the production, largely because Burton believes that Taylor is not taking the play seriously, deliberately overacting and playing to the gallery.

Making filmed biographies of the great actresses of the past, particularly those who were famed for their beauty, can often be a thankless task because of the difficulty of finding a modern actress who bears sufficient resemblance to the woman she is portraying. Helena Bonham Carter, although a very attractive woman, would probably not rank very highly in an Elizabeth Taylor lookalike contest. Her voice, mannerisms and gestures, however, are sufficient to convey an impression of Taylor's personality, an impression convincing enough to persuade us to overlook the lack of any real resemblance. (Michelle Williams was able to perform a similar feat with her impersonation of Marilyn Monroe in "My Week with Marilyn").

Dominic West, however, is unable to do the same for Richard Burton. Part of the reason is that he looks far too young. It is not just the disparity in their chronological ages; West is 44, whereas Burton would have been 58 in 1983. By this stage in his life Burton was ageing and in poor health, looking older than his 58 years. He may have fought gallantly to overcome his alcoholism, but years of excess had taken their toll, and he only had another year to live. (He was to die in August 1984). There is no real hint of this in West's performance, and he comes across as a healthy, vigorous and youthful-looking man in early middle age (despite a few grey hairs). It also does not help that he looks very different from Burton and lacks his deep, mellifluous voice.

I felt that "Burton & Taylor" would have been more interesting if it had tried to tell the whole Burton/Taylor story, using the "Private Lives" production as a framework and relating the story of their life together in a series of flashbacks. Perhaps BBC4 (a fairly small network) lacked the resources to try something so ambitious. The film we actually have, telling no more than a small postscript to that story, is too static and dominated by talk. The sight of Bonham Carter and West getting into yet another blazing argument may occasionally be entertaining, but we are left with the feeling that there must have been more to Richard Burton and Elizabeth Taylor than that. 5/10

It's 1983. Elizabeth Taylor (Helena Bonham Carter) and her twice ex-husband Richard Burton (Dominic West) are going to star in the revival of Noel Coward play 'Private Lives'. The media speculation is rampant with Taylor's help. She's popping pills. He keeps giving her notes on stage acting. He starts drinking again. The play is panned by the critics but popular with the fans who are rabid for the reunion. He marries his girlfriend and the two actors conflict.

It has a couple of good performances in a rather bland telling of a minor part of these icons' turbulent love affair. It's the writing and probably the directing that let this down. It plays more like a Lifetime TV movie. It doesn't have the bite. There is a great opportunity to add other characters into their relationship. This is begging to include Burton's girlfriend. There is great drama here but the movie doesn't take full advantage.

"Burton and Taylor" starts weakly because it takes a while to accept Dominic West as a dissipated 57-year-old Richard Burton and Helena Bonham-Carter as legendary glamour puss Liz Taylor. But West wins us over first of all with his deep voice and cultivated enunciations (which was what Burton was primarily known for); then secondarily his Burton-style cheek folds and greying temples provide just enough distraction from West's own robust youthfulness; finally, West projects a pervasive worldly cynicism tempered with a basic humanity. Bonham-Carter has the coloring and heat of Taylor, something of the physique (though less buxom), slightly similar facial features enhanced by careful camera angles and she effectively duplicates Taylor's weak, whiny voice. She redeems herself for her abominable performance in 2012's "Dark Shadows."

The scope of the story, with the exception of one flashback, is wisely limited to several months in 1983 when the famous twice-married, twice-divorced couple reunited to play the leads in Noel Coward's "Private Lives" on Broadway. They were both too old for their parts and Taylor was not remotely adept at stage acting but superficially at least, their own relationship resembled that of the tempestuous couple at the heart of Coward's play. And that was enough for star-struck Broadway audiences to guarantee a financially successful – if artistically disastrous - production. Highlights of this extended public embarrassment – from early rehearsals through closing night – are interspersed with peaks and valleys in the Burton-Taylor personal drama.

Burton emerges as a skilled and erudite artist waylaid by dependency on drugs (alcohol and cigarettes); Taylor as an intelligent but spoiled, pill-popping, self-absorbed star monster, the kind only Hollywood could create; the pair as mutually dependent devourers and enablers of each other—in short, a mythic representation and exaggeration of average couples in general, which indeed was part of their mass appeal.

There are so many revelatory truths scattered amidst the dross of the TV-movie-style mise- en-scene that one can only surmise that the creative personnel behind this effort actually cared about and emotionally connected with their subjects. A few examples: the startling scene backstage when Taylor in mid-conversation with Burton suddenly slugs him in the face for having spoken rudely to her staff moments earlier; the close-up on their hands clasped together and then separating during a curtain call, pointing up the unstable unity-disunity of their relationship as expressed by the failure-success of their play; the dynamic of their on- stage interactions as Taylor, thanks to her sheer star power, gets away with running roughshod over Noel Coward's verbal architecture while Burton, the trained stage veteran, struggles to anchor the proceedings with actorly skill; Burton's frequent quoting from Shakespeare to express powerful feelings, reflective of his early absorption of and inner devotion to the classics of literature which not only fueled his youthful rise to success but sustained him through subsequent decades of personal and artistic dissolution.

This is the second biopic about this pair in the last year, the previous one being the forgettable quickie starring Lindsay Lohan. "Burton and Taylor" manages to obliterate its predecessor.

There is criticism that this play does not do justice to the Burton-Taylor relationship but that is unfair, what it does do is to focus upon a particular stage in their lives, coincidentally shortly before Burton's death.

Other criticism is for the lead players. If you had to cast someone as iconic as Richard Burton or Elizabeth Taylor who would you cast? Who would meet the legend? I feel the leads do a competent job and Dominic West's fading Welsh accent is very convincing.

It is, in truth, a fairly boring story but bolstered by strong performances and good direction.

... among those real lives -- that were so publicly replete with drama, drink, drugs, fame, fortune, travel, stage & screen, luxury, lust, affairs, and marriages (whew!) -- the movie has an appeal.

Partly, as a chance to catch a slowed-down glimpse into just one period of their lives.

Mostly, though, to experience Helena Bonham Carter's sublime performance as well as that of Dominic West. Their voices and mannerisms were spot-on.

I read that Helena was terrified to play the part of Elizabeth Taylor (understandable). But it seems then that fear is her muse because she was, quite simply, remarkable.

I wonder if Hollywood could tap her again for another Liz movie. There's certainly enough material for a series...

For a mere $70,000 a week (each), the now sober Richard Burton (Dominic West) is convinced by the not so sober, pill-popping, Elizabeth Taylor (Helena Bonham Carter) to reunite and star in a version of Noêl Coward's "Private Lives". He has other irons in the fire, not least an impending new wife and an opportunity of a lifetime to play "Lear" so isn't so keen but she is persuasive. After almost false-starting on night one, they duly turn up and though the critics absolutely loathe it, the fans initially throughly enjoy what they see as the real lives of these two stars being enthusiastically and acerbically presented using the stage as a conduit for their bickering. Burton is narked that it's his ex-wife fans want to see whilst she selfishly keeps on hitting the bottle. When the audiences do start to dwindle and the show is halted, the pair face the nearest thing either can imagine to a fait accompli - but do they care? It is entertaining at times with both actors looking like they are enjoying this once in a lifetime opportunity to play this torrid partnership with gusto and a tiny bit of venom. Despite their best endeavours, though, it looks like the producers were more concerned about it's rating, and the thing has a sterile tameness that lets it down a bit. They are going through the motions of a vitriolic and addictive relationship but it just doesn't land enough punches - physically or metaphorically. It's watchable, but nothing special at all.

The DVD of this BBC film for television is yet to be released in the US so the first introduction to what is actually a very fine film was presented to the American audience in piece meal fashion on the BBC network: 7 minutes of story then 4 minutes of commercials then 7 more minutes of story, etc - for 2 hours. It grows wearisome to see two character studies so well sculpted cut up into a puzzle by commercialism's greed. The uninterrupted DVD should correct that flaw and will likely be a stunning experience. Richard Laxton directs a screenplay by William Ivory (no, not THAT Ivory family...), but the kudos for the success of this film go to Helena Bonham Carter and Dominic West who manage to reincarnate Li and Dick with consummate skill.

Elizabeth Taylor (Helena Bonham Carter) invites her ex-husband - twice married, twice divorced in one of the last century's most tempestuous and media focused couplings - Richard Burton (Dominic West) to her fiftieth birthday party where, as a recovering alcoholic, he refuses to get drunk with her. She obviously still retains her obsession and passion for him and suggests that they star in a stage revival of Noël Coward's play Private Lives that Liz is to produce. The agreement and announcement causes gossip with the press who speculate a possible romantic reconciliation. With a new girlfriend and the prospect of playing King Lear, Burton is not happy with the project, especially with Taylor's pill-popping and her lack of stage experience, which causes problems at rehearsals: Taylor has not even read the play before day 1 of the rehearsals. The play opens to a critical trashing but is extremely popular with audiences because they want to see Liz Taylor and, when she is ill, numbers dwindle and the show is put on hold. After a two-month run, with a projected tour, the curtain comes down and Taylor tells Burton she has always loved him and still does. Richard and Elizabeth go their separate ways, but they did sort out their differences and remain friends, and apparently they only communicated by telephone and letter, until his death in 1984. Taylor died in 2011.

The supporting cast, especially Lenora Crichlow as Liz' dresser Chen Sam and Stanley Townsend as the play's director Milton Katselas, is strong for the small amount of time they are on screen. The spectacle is the obsessive relationship between two very strong characters and fortunately both actors give excellent impersonations and recreations. We are allowed to see and understand their differences and frustrations.

Grady Harp

Burton and Taylor will forever be Hollywood's golden couple whose turbulent life made headline news but also inspired some dramatic films, none more so than 'Who's afraid of Virgina Woolf.'

The setting for this one off film is 1983, a year before Burton's untimely death.

Richard Burton (Dominic West) and Elizabeth Taylor (Helena Bonham Carter) after their second divorce are reuniting in London for a theatrical play of Noel Coward's Private Lives and enter another spiral of turbulence, bickering, despair and affection.

The press announcement creates a storm of interest and speculation in the media as to if they will get back together for a third time.

Taylor still carries a torch for Burton while Burton, a man with a reputation as a great stage actor is frustrated by Taylor's histrionics and her unwillingness to rehearse the play properly.

Bonham Carter captures the essence and cattiness of Taylor remarkably well although West seems to struggle with his Burton. Maybe it was a misstep by concentrating in this period of their relationship when there is a more interesting story to be told about this pair as to how they fell in love in the early 1960s. Together with their roller coaster relationship over the next 20 years.

This movie is a work of art and terribly underrated. Believe me when I tell you that I was at the edge of my seat watching this all while knowing full well how it ends...

Yup thanks to whoever thought of this. It clearly does not work however accurate the dialogue between them and the valiantly attempted body language was painfully unconvincing from two truly fine highly professional thespians who both strived to convince ?

Minutes prior to accessing this attempt i had for the first time, after all these years watched the truly fabulously produced, filmed and found myself mesmerized by them both in Cleopatra from 1963. As for this BBC attempt i noticed a modest reaction from viewers of a total of 10 not very impressive contributions ! Without having yet checked the number of contributions for Cleopatra, i am only guessing more than 50 minimum and i will check that true number of reactions later , ?

Short and sweet as possible, frankly this BBC attempt is not what i was hoping it would be .?