“A drowning man takes down those nearest.”
Genres, Themes, Actors, and Directors:
In Peary’s Alternate Oscars — where he reluctantly gives Taylor the award as well — he writes that while “Taylor doesn’t come across as being natural or at ease,” we should “at least give her credit for attempting to act rather than just inhabit a character”. While he complains that her portrayal of Martha is “too shrill” and “should appear to be strong for most of the play/film, rather than just loud and irritating”, he concedes that “when it really counts Taylor makes us understand this troubled woman.”
I’m not bothered at all by Taylor’s performance, and find it difficult (though not impossible) to imagine someone else in the role — primarily due to the casting of Taylor’s real-life husband as her spouse. Speaking of Burton, Peary also awards him an Oscar, noting that Taylor’s “performance is so ostentatious… that it takes a while to realize that the comparatively subdued Burton is giving a brilliant characterization”.
He adds that “we are transfixed by [Burton’s] every movement, dazed by his wise yet not always logical remarks, kept off balance by his secretive smiles and powerful gazes, knocked backward by his every shout.” He goes on to provide an analysis of George and Martha’s relationship — one which helps put all the shouting and manipulation into context:
Who’s Afraid of Virginia Woolf? isn’t an easy or pleasant film to watch by any means. However, Nichols’ confident direction, Haskell Wexler’s Oscar-winning b&w cinematography, and the memorable performances (including those by Segal and the oh-so-unique Dennis) make it well worth at least one visit. Be sure to check out the commentary on the DVD in which Nichols chats with Steven Soderbergh about his directorial choices and the film’s production history; it’s quite fascinating and insightful.
Redeeming Qualities and Moments:
(Listed in 1001 Movies You Must See Before You Die)