


Who's Afraid Of Virginia Woolf?
[More about this magnificent film here]


In 1983 the hottest ticket in town was Elizabeth Taylor and Richard Burton on stage together for the first time. The play was Noel Coward’s Private Lives but the billboards might as well have read The Liz and Dick Show.Unfortunately, according to The Guardian, this will be the last of the brilliant real-life documentaries that have made BBC4 such a compelling and watchable channel since it was launched in 2002...
After all Private Lives is about a couple, divorced after a stormy marriage, who meet up again while honeymooning with their new spouses and realise they are still in love with each other. Remind you of anyone? If ever there were a case of art imitating life, this was it. The second wife was even called Sybil, like the first wife Burton had left for Taylor.
Taylor and Burton had divorced for the second time six years earlier. They had both made ill-advised new marriages – she to Virginia senator John Warner, he to model Suzy Hunt, ex-wife of racing driver James Hunt – which had also ended in divorce. It was no wonder that audiences thought Private Lives was about their lives.
But rather than a triumph the next year was to be a watershed. For the first time Taylor – a consummate film actress but with virtually no theatre experience – seemed out of her depth and for the first time in the tempestuous 20 years he had known her, Burton found her irritating and boring. Most poignantly they were to be the last months they ever spent together for Burton died the following year.
Now the story of that last turbulent year has been made into a TV film starring Dominic West and Helena Bonham Carter in a BBC project that might be described as art imitating life imitating art imitating life.
The drama, written by William Ivory and directed by Richard Laxton, is something of a swansong for BBC4, the last in a successful series of biopics about public figures including Margaret Thatcher, Enid Blyton, Beatrix Potter, Kenneth Williams, Frankie Howerd and Barbara Cartland.Such a shame.
BBC4's budget was cut last year as part of the corporation's "Delivering Quality First" cost-saving initiative. As a result, the channel is commissioning less original drama.










The Leaden Echo
How to keep — is there any any, is there none such, nowhere known some, bow or brooch or braid or brace, lace, latch or catch or key to keep
Back beauty, keep it, beauty, beauty, . . . from vanishing away?
Ó is there no frowning of these wrinkles, ranked wrinkles deep,
Down? no waving off of these most mournful messengers, still messengers, sad and stealing messengers of grey?
No there’s none, there’s none, O no there’s none,
Nor can you long be, what you now are, called fair,
Do what you may do, what, do what you may,
And wisdom is early to despair:
Be beginning; since, no, nothing can be done
To keep at bay
Age and age’s evils, hoar hair,
Ruck and wrinkle, drooping, dying, death’s worst, winding sheets, tombs and worms and tumbling to decay;
So be beginning, be beginning to despair.
O there’s none; no no no there’s none:
Be beginning to despair, to despair,
Despair, despair, despair, despair.
The Golden Echo
Spare!
There is one, yes I have one (Hush there!);
Only not within seeing of the sun,
Not within the singeing of the strong sun,
Tall sun’s tingeing, or treacherous the tainting of the earth’s air,
Somewhere elsewhere there is ah well where! one,
One. Yes I can tell such a key, I do know such a place,
Where whatever’s prized and passes of us, everything that’s fresh and fast flying of us, seems to us sweet of us and swiftly away with, done away with, undone,
Undone, done with, soon done with, and yet dearly and dangerously sweet
Of us, the wimpled-water-dimpled, not-by-morning-matched face,
The flower of beauty, fleece of beauty, too too apt to, ah! to fleet,
Never fleets more, fastened with the tenderest truth
To its own best being and its loveliness of youth: it is an everlastingness of, O it is an all youth!
Come then, your ways and airs and looks, locks, maiden gear, gallantry and gaiety and grace,
Winning ways, airs innocent, maiden manners, sweet looks, loose locks, long locks, lovelocks, gaygear, going gallant, girlgrace —
Resign them, sign them, seal them, send them, motion them with breath,
And with sighs soaring, soaring sighs deliver
Them; beauty-in-the-ghost, deliver it, early now, long before death
Give beauty back, beauty, beauty, beauty, back to God, beauty’s self and beauty’s giver.
See; not a hair is, not an eyelash, not the least lash lost; every hair
Is, hair of the head, numbered.
Nay, what we had lighthanded left in surly the mere mould
Will have waked and have waxed and have walked with the wind what while we slept,
This side, that side hurling a heavyheaded hundredfold
What while we, while we slumbered.
O then, weary then whý should we tread? O why are we so haggard at the heart, so care-coiled, care-killed, so fagged, so fashed, so cogged, so cumbered,
When the thing we freely forfeit is kept with fonder a care,
Fonder a care kept than we could have kept it, kept
Far with fonder a care (and we, we should have lost it) finer, fonder
A care kept. — Where kept? Do but tell us where kept, where. —
Yonder. — What high as that! We follow, now we follow. — Yonder, yes yonder, yonder,
Yonder.





"I'm loud, and I'm vulgar, and I wear the pants in this house 'cos God knows, somebody has to! But I'm not a monster, I'm not!!"But it of course for his masterwork Who's Afraid Of Virginia Woolf? that he is (rightly) most admired and remembered. This tortuous dissection of a stifling relationship between two headstrong (and drunken) characters is held up today as a classic of world drama. It caused massive controversy in the straight-laced early 60s for its uncompromising use of vulgar language and uncomfortable scenes of verbal humiliation and implicit "sexual decadence".