Photoplay (Jan-Jun 1963)

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Sup^sofi D-r Scholls Zino pads beth Taylor, her teacher— and pushed her back in front of the cameras. What Elizabeth needed, of course, was to push back. Get it out of her system! Just push, as they did! But she couldn’t, she wasn’t the kind of girl who could push. So instead, her rebellion turned in on herself. Unable to punish the people who were pushing her (they were so powerful, they couldn’t be wrong, she must be the one at fault), she punished herself. Her rebellion went underground and she almost tore herself apart. The illnesses, for instance. After her first marriage ended in a quick divorce, she contracted the first of the many diseases and ailments that were to plague her through the years. And it is noteworthy that this first illness was colitis — recognized by most doctors as resulting largely from unrelieved psychological strain and unexploded hostility. To some extent, the pattern of illnesses worked for her. She was now catered to, watched over, given sympathy and tokens of love. When an actress — your most valuable property — is inclined to be fragile and delicate, you treat her tenderly. And so this turning-in-upon-herself (psychologists call it “retroflective behavior”) worked for a while, all through Elizabeth’s marriage to Mike Wilding and Mike Todd. But it didn't work well enough. The pangs and pains weren’t quite worth the results they brought. Besides, although the enemy bent, he did not break. Miss Taylor came close to self-recognition when she once said, “I’m the same as a key piece of machinery in a steel mill which is needed to make money for the mill owners. If I break down, it’s their problem, not mine. My problem is t<> build some kind of decent life for mv*eli in this crazy unreal world in which i make my living.” (But then she backed away from the implications of her own words: If they push you around, you must push them back.) As George Stevens says, “What most people don't know is that there has been a smoldering spirit of revolt in Elizabeth for a long time. I sometimes wonder if she didn’t unconsciously precipitate the Debbie Reynolds-Eddie Fisher mess deliberately because, in growing up, she finally had to give violent expression to her revolt.” This is indeed a thought. The real enemies The only words that are misused here are “growing up.” If Miss Taylor was really maturing, she would have confronted her actual opponents. She could have “told them off” directly, face to face. She could have pushed the studio out of her life by saying, “I’m through. I never wanted this. I don’t want it now. Get yourself another girl.” Instead, her delayed revolt burst forth in “exhibitionism,” “extravagant” and “wilfully conspicuous behavior.” She selected “dummy objects” against which to vent her spleen ( ‘dummy” because they were not the true objects of her disdain) — Eddie Fisher, the press, public opinion, photographers, accepted morality, conventional ideas. This same wild, pointless flailing out at authority can be seen in Brigitte Bardot’s actions and words. “For the moment we are living as crazy people,” she told one reviewer. “There is no principle or organization in our lives. Anyway, I don’t care what people think.” To another writer who warned her that her compulsive nudity could “start a trend which would degenerate our institutions and finally destroy them,” Brigitte replied, i laughing, “Good! The morals would be destroyed. That’s good!” The same shrill, rebellious words can be heard from Christine Paolozzi. Rationalizing her true reasons for posing in the nude, she says, “I posed for that picture out of pure rebellion against the whole hypocritical society that was all around me.” ti A grain of Freud But the trained psychologist, accustomed to interpreting words with a grain of Freud , (and actions with a pinch of Jung), would he quick to point out that the voices of these women are “dummy” voices and that i the actions of these women are “dummy” j actions, and that what they’re really doing is attempting to work out, years later, the unfinished conflicts which still plague them •, from their youth. “Pay attention to me,” they’re saying to their mothers. “Look at , me. Isn’t there anything I can say or do ; that will make you know I’m really here?” Behind Elizabeth Taylor’s present acts ; stands the ghost of that other Elizabeth Taylor, the little girl. It is as though she ' is saying. “You hurt me, Mommy, so now I’m going to make you unhappy by doing something very naughty. You made , me do things I didn’t want to do, Mommy, j so now I’m going to hurt you more than J you hurt me. You made me cry, Mommy, so now I’m going to make you cry. Really, I ^ really cry.” Yet, because once again her rebellion is roundabout and indirect, it can provide no 1 release, no fulfillment, no triumph for i Elizabeth Taylor. The grown woman is able r to hurt, shock and shame people, and she is able to make those closest to her cry. t But the little girl deep inside her still t hasn’t found a direct voice. Strangled and suffocated, its muffled, frightened sound is buried beneath Miss Taylor’s I-don’t-care words and actions. t Sometimes, for a fleeting moment, in a random gesture, an unguarded word, the i little girl within Elizabeth Taylor manages i to emerge. Muttering over and over again to herself (don’t say it out loud, they might not love you if you do), she seems ■ to be saying, “Leave me alone. Leave me alone. Leave me alone. Please, please, 1 please — leave me alone.” But because Elizabeth Taylor, child or woman, has never been able to say this to the studio or to her mother, and because [ she must either try to run away from them { ' or attempt to arouse their sympathies r through her illnesses or seek to shock and * 1 shame them by her actions, she could be doomed to a never-ending child-woman existence of striking out blindly at others and hurting only herself. — The End Liz is in 20th’s “Cleopatra.” Her next film is M-G-M’s, “Very Important Persons.” ★★★★★★★★★★★★★★★★★★★★★★-A-**** BUY U. S. SAVINGS BONDS AND INVEST IN YOUR FUTURE ★★★★★★★★★★★★★★★★★★★★★★★★★★* 98