The first moment is behind the stained glass window, when she silently decides to marry him.The second is when she follows him after he leaves her at the gates of Padua.In her autobiography, she wrote she wanted to play Katherina as a ferocious woman, but Taylor told her "We don't want any of that heavy stage drama; we want the old Pickford tricks." Pickford said of her performance, "Instead of being a forceful tiger-cat, I was a spitting little kitten." The next cinematic adaptation was Franco Zeffirelli's 1967 The Taming of the Shrew, starring Elizabeth Taylor and Richard Burton.

the taming of the shrew movie 2005 online dating-90

But [...] Zeffirelli has sought and found an alternative establishing context which is at once an educated and intelligent historical reconstruction and brilliant exposé of the production's principles of interpretation.

Critics have also noted that Katherina twice consciously makes the decision to go along with Petruchio.

However, Elizabeth Schafer calls the film "intensely conservative," citing the controversial advertising blurb; "A motion picture for every man who ever gave the back of his hand to his beloved..for every woman who deserved it. However, Schafer does go on to acknowledge that "because of the sheer power of Taylor's presence, Katherina occupies a far more memorable filmic space than the dramatic space she has in the original play.

In 1983, John Allison directed a straight-to-video production played out on a bare Elizabethan stage modeled after the Globe Theatre.

In this version, Katherina delivers her final speech seemingly without irony.

Zeffirelli and Burton both wanted Elizabeth Taylor to deliver the speech ironically, a la Mary Pickford, but Taylor felt it would be better to speak seriously, and then undermine that seriousness by leaving the banquet without Petruchio, thus subverting his apparent authority over her.The conversation about the sun and moon, so often seen as a pivotal turning point in the taming is then delivered with a befuddled Petruchio apparently genuinely unsure whether he is looking at the sun or the moon, and a worried Katherina trying to placate him.This is immediately followed by her 'submission' speech, and her wink.Graham Holderness argues of this scene, the collapse of an ecclesiastical service into a merciless parody, unrestrained revelry and orgiastic release is Zeffirelli's attempt to reconstruct the carnivals of the Middle Ages [...] in the course of the opening sequence, framed as an "induction" by the superimposition of the film titles, we observe the barbaric anti-ceremony of clerics wearing grotesque animal masks, sacred music giving way to obscene and cacophonous chants and a blasphemously parodic image of the Virgin.This ritualistic subversion of hierarchy and orthodoxy is a visually powerful and historically detailed dramatization of those medieval festivals of misrule conjecturally derived from the Saturnalian rituals of Rome [...] the elements of parody and subversion, the substitution of license for restraint, obscenity for virtue, the orgiastic celebration of the material body for the metaphysical rituals of the Mass, are here correctly identified as a form of drama [...] by jettisoning the Sly-frame, Zeffirelli may in the opinion of some observers have been indicating his contempt for the original.Most significantly, when Petruchio outlines his plan to tame her "with kindness" (4.1.195), which is usually a soliloquy, Katherina hears him.