Divorce His - Divorce Hers

These two connecting movies, made in the early seventies were obviously tax write-offs for the over indulgent Burtons - but to see Carrie Nye, wafting about Rome in orange and canary yellow chiffon dresses, sipping champagne out of her golden slippers and charmingly trying to step in between Burton and Taylor's 'on again-off again' love affair is a treat that makes these two 70's period pieces great! With her honest husky drawl, she growls and drinks and brazenly seduces Burton so matter-of-factly, that you really can't understand why he turns her down for the shrill harping's of Taylor's needy character. A fun movie of a time long past - where material excess was accepted and longed for, and the only care in the world was 'what diamonds to wear' that day. Carrie Nye shines in these films.

Divorce His/Divorce Hers from 1973 is the only tv movie that Liz and Dick made. In fact, I think they were about to become divorced themselves, though they did remarry.

This movie is in two parts, showing the effect of divorce on each party as their 18-year marriage is ending.

They play Martin and Jane Reynolds. We meet them in Rome after a two-year separation. Martin is in Rome on business and has unhappy memories of their union.

Jane is more focused on their family life and the hurt the divorce caused their children.

Overly long and kind of boring. Rome is beautifully photographed, and Taylor looks gorgeous and bejeweled. Burton seems a little out of it.

Actually the whole thing is kind of trashy. I don't think either one of them were in a good place in their lives, since they split the next year. And their lives were much more interesting than those of the characters in this film.

`Divorce His; Divorce Hers' would be a much better film if it were trimmed from three to two hours. In this effort, T.V. producers attempt to milk the then world shaking coup of nabbing the Burton's for a two-night event (Their first Movie made for television). But the cow ran dry at two hours. The story of a crumbling marriage is told first from the husband's point of view and then in the second half is told from the wife's. Much of the same ground is covered twice and much more interestingly in the second half.

Jane and Martin Reynolds live La Dolce Vita in Rome in the early 70's and after 18 years come to the slow and painful end of their marriage. Rome looks wonderful in the location shots in the Borghese Gardens, along the Via Condotti at night, and Piazza Navona. And attendant with the glamour of Rome the aura of the Burtons is well served in making the Reynolds seem impossibly rich. Notice that Elizabeth wears her Krupp diamond and the famous La Peregrina Peal necklace. No successful business tycoon of Burton's character's income could have afforded such lux baubles for his wife. Still in the early 70's the Liz and Dick glamour machine must be well oiled and the public at the time expected it. Some degree of disbelief would be suspend in anticipation of the Burtons because we somehow felt that what we were seeing less a drama than a simi-documentary about Elizabeth and Richard. And perhaps in some ways those films were just that. Richard Burton's performance is somewhat stiff and cool with flashes of Welsh temper to pepper his scenes. But, over all, he seems rather distant and not too interested in the proceedings. But on the other hand Elizabeth's excellent training in film acting over the years by the masters at M.G.M. comes to her aid in creating a warm fully developed and wonderful lady in Jane. She shines in particular in her scenes with the children and in her scene with Carrie Nye when she learns of Miss Nye's relationship with her husband. She is missed when she is not on hand to bring a little life to Mr. Burton's scenes. Miss Taylor shimmers in her own inimitable way and once again shows new comers and old pro's what real screen acting is about. The film is by no means great but not nearly as bad as some reviewers would lead you to believe. `Divorce His: Divorce Hers' is worth seeing for Elizabeth's solid work.

"Divorce/His...etc, is for hardcore Elizabeth Taylor fans (as are most of her vehicles, post 1967) Here you find her in all her latter-day glory--over-the-top and inappropriate in every way. The script, if you can call it that, tells the tale of a longtime married couple (wealthy, of course) whose marriage is coming apart. It's a tale told from two perspectives, tho both are equally silly and poorly written. You can just skip Burton, he's a burnt out zombie here. (Liz n' Dick would separate for the first time shortly after this thing hit the airwaves. Burton looks more than ready!) But our girl Liz gives it her all. She approaches every melodramatic moment, every abysmal line of dialogue as if her life or an Oscar depended on it. Quibble if you will if she is a good actress--she is certainly not a lazy one! She enlivens the material with her baroque presence--the wigs, the jewels, the gowns. The wigs! And of course a drinking game could be made out of her fluctuating weight. In one sequence she visits her horrible children's rooms to scold them. She loses ten pounds between the son and the daughter.

Taylor looks good, stll quite the beauty. Her real problem is her proportions. Very short, very short-waisted and that enormous bosom. Dressing her must have been a challenge even at her slimmest. Here, Edith Head does some excellent work, but Taylor sneaks in a few monstrosites from her own closet--the mini dress/tent she wears in a flashback sequence, in Africa! (She's sporting a fantastically distracting bullet bra, and a gigantic pendant hanging between the famed bazooms. When she sits down, the dress hikes to her crotch. Anybody can act, Miss Taylor puts on a show.) So, it's like that. Taylor's wacky, sometimes stuttering-placing- emphasis- on- the- wrong- word line-readings are also worth a peek.The high point is Liz and Carrie Nye. Nye, who looks like a transgendered corpse, thank you very much, reveals to poor Liz that she (Nye) has had an affair with Burton. Liz, rather tanky in her blue silk penoir get-up, pushes Nye away (how Nye didn't land in the next country is a miracle) "Stop talking, stop telling! He must have been drunk. How could anyone have an affair with you, you're not even beautiful!" This truthful statement seems beside the point, but Miss T. couldn't have given this (and other whoppers) more gusto had it been scripted by Edward Albee.

So, you have been warned. If you like this sort of thing, try to get a copy of "X, Y and Zee" which is much better and when "Zee" is funny, it is meant to be. Liz--we love, ya, honey.

Liz Taylor and Richard Burton star as an estranged couple whose lives have taken divergent paths following an acrimonious divorce several years earlier. The TV movie explores the impact of the separation from each other's perspective, Burton, a wealthy businessman in Rome sewing up a deal on behalf of his African company, Liz, juggling the care of their three children, each exhibiting different impacts of the separation. A great deal of postulating and ruminating is done about the travails of marriage, and time spent discussing 'what went wrong', people making, taking and declining phone calls, and a seemingly inordinate amount of time spent showing Burton in transit, clutching briefcase, looking concerned (or ambivalent, it's difficult to tell) in and out of Rome airport.

It's classic soap opera, and at over two hours, an epic one at that – mercifully, being shown in two parts allows for a much needed intermission, where you can decide whether you really want to return for more. Carrie Nye plays a promiscuous dalliance of Burton with whom he has a brief affair, while Gabriele Ferzetti is Liz's momentary Latin beau. Barry Foster has a prominent supporting role as Burton's associate and frustrated confidante, while some audiences might recognise ubiquitous West Indian actor Rudolph Walker (of "Love Thy Neighbour") in a small role as a businessman.

Given the locations (Rome/Munich), it's a shame there aren't more exterior shots, but then, this is a TV movie and much less a postcard than a long and sometimes tawdry account of the impact of divorce on all concerned. Nice music, but possibly more of interest to those who enjoy the Taylor/Burton collaborations; other audiences my find things a bit slow-moving and talky.