Page 33 - Shakespeare in the Movie From the Silent Era to Shakespeare in Love

22 / Shakespeare in the Movies

been wryly aware that this would happen and perhaps, still more
hardheadedly, have counted on the public's morbid curiosity to add
a little box-office insurance to an otherwise financially risky under-
taking." As to monetary considerations, it's worth noting that Taylor
and Burton produced the film themselves, contributing their con-
siderable salaries to cover growing expenses. Not surprisingly, then,
there were none of the temperamental scenes that, three years ear-
lier, caused Cleopatra to go grotesquely over budget. Forsaking late-
night drinking bouts, the two concentrated on making the best
possible picture at the most economical price.
Wisely sensing that 1967 was a watershed year in movie history
(The Graduate, Bonnie and Clyde, etc.), the Burtons refused to hire
some Hollywood pro as director. Instead, they decided, with some
element of risk involved, to allow a talented, if controversial, young
stage artist to make his cinema debut. Franco Zeffirelli, a seasoned
opera veteran, planned to employ his considerable gifts for lavish,
ornate staging. Since he also wanted to make a naturalistic movie,
his first screen effort would play as a true film rather than a recorded
stage play. This dual ambition led to a midway approach between
the extremes. Though Zeffirelli did not film on actual locations,
instead mounting his production on four immense soundstages near
Rome, he labored to create (in collaboration with designer Renzo
Mongiardino) a set appropriate for a film which would combine
Shakespeare's stylized dialogue with the realism expected by the
film's target audience.
From the opening, the mock sixteenth-century Padua streets,
depicted as deliriously winding, are crammed full of robust people,
some motley in appearance, others handsomely attired. Also, braying
animals, piles of vegetables (fresh or rotting), plus all sorts of wares
vied for the viewer's attention. To keep the image from being a
studio romanticization, Zeffirelli also included piles of garbage and a
great deal of dirt. Such richly textured detail was captured on pre-
exposed color film, which produced a mellow ocher glow. Thus, Zef-
firelli achieved his twofold purpose: a dream vision of a real place.
Burton and Taylor were attracted to Zeffirelli after realizing that his
stagings were intended to return opera to the common man, the con-
temporary equivalent of the English unwashed that Shakespeare had
comfortably played to.
"We intend to make Shakespeare as successful a screenwriter as
Abby Mann," the director announced at the onset, making everyone
aware of his personal vision. Over the centuries, Shakespeare had