Who “tamed the shrew” better: the USSR vs the USA
by Sergey Sokolov
Did you know that 60 years ago black and white Russian film The Taming of the Shrew was released on big screens? Yes, I know what you would say: “It is obvious that 60 and even 70 years ago black and white films were released in the USSR. So what? Why is this particular film worthy of my attention?” Well, to begin with, The Taming of the Shrew is a film adaptation of a wonderful play written by William Shakespeare. And, as British poet Robert Graves claimed: “A remarkable thing about Shakespeare is that he is really very good despite all the people who say he is very good.”
The story of the young lady making her path from the headstrong and obdurate shrew to the desirable and obedient wife has attracted many talented film directors. It has been adapted and interpreted numerous times. Take, for example, The Taming of the Scoundrel starring Adriano Celentano, or Overboard (1987) with Kurt Russell and Goldie Hawn, or even The Taming of the Scoundrels (2009). But the success of the interpretations wouldn’t be complete without the influence of the films which tell the story close to the original.
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In the 50s, Shakespeare’s play being transformed into a movie was not an outstanding thing in Russia. In the period of Thaw, a period of relative creative freedom, such film adaptations as Romeo and Juliet (1954), Othello (1955), and Twelfth Night (1955) were the absolute leaders at the box office – the success of the old British plays was indisputable. And Alexei Popov, the director of the theatrical production of The Taming of the Shrew, made up his mind: in 1956, the film with the same name was put into production.
The creative part of the work was supervised by Alexei Popov while the director’s chair was occupied by ambitious Sergey Kolosov. His wife, Lyudmila Kasatkina, played the leading role in that film, and her signature character of the rebellious shrew Katherina is still regarded by critics as one of the best. In 1961, the film was shown to the public and immediately received plenty of positive reviews in the USSR. Kasatkina fairly won the Golden Nymph prize at the 2nd Monte Carlo International Film Festival.
Today, however, we can point out some minuses that were not depicted back then but are noticeable today. First of all, it is the lack of decorations: the picture cannot be called “deserted” but sometimes you feel that you have seen this or that column or wall in other Soviet films. But the biggest flaw is connected with acting: Andrey Popov, who played the main role of Petruchio - a strong-willed and rough man, didn’t do his part well: the actor was too romantic and quiet and it is quite unlikely that passionate Italian Katherina, as Shakespeare illustrated her, would “surrender” to that “Petruchio”. Also, other actors acted as if they were “shackling” themselves. Such acting, however, was normal for the 60s in the USSR. That is why all the shortcomings went unnoticed. At least, until the American-Italian film about the same story was released on screens.
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“Amidst the rich pageantry of the age of romance a story of love and marriage, which are not necessarily the same thing! The world’s most celebrated movie couple in the motion picture they were made for!” Yes, the advertising managers of the 60s were a dab-hand at making trailers and slogans for the upcoming films, including The Taming of the Shrew (1967).
The Hollywood of the 60s became a platform for many film directors to release their grandiose ideas in the field of historical stories and literature. Spartacus (1960), El Cid (1961), The Fall of the Roman Empire (1964) – these and many other money-consuming blockbusters are the heritage of that time. The success of the films was mainly achieved due to the famous actors, and people from Italian studio “Films Artistici Internazionale” (FAI) thought that it would be great to make a movie starring Hollywood actors. As a result, in 1967, The Taming of the Shrew starring Elizabeth Taylor and Richard Burton as Shakespeare's Kate and Petruchio was released.
Three David di Donatello Awards (Best Cinematography, Best Foreign Actor (Richard Burton), Best Foreign Actress (Elizabeth Taylor)), two Oscar nominations (Best Work by artists and decorators and Best Costume Design), two Golden Globe Award nominations (Best Motion Picture — Comedy or Musical, Best Comedic Actor (Richard Burton)) and two BAFTA award nominations (the best British actors)– the list of the film’s awards seems to be endless and, naturally, The Taming of the Shrew entered the list of top ten films of the year 1967.
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Wonderful decorations and costumes shining with the splendor of the era of feudal Italy, brilliant music written by inimitable Nino Rota, and, of course, the duet of “the most celebrated movie couple” Elizabeth Taylor and Richard Burton. At that time, the actors were married and, apparently, this circumstance helped them to reach their full potential in these roles of tough but fair husband and rebellious but gentle soul wife. Unlike Soviet actors, Taylor and Burton seemed natural and energetic, and the film itself became more a romantic comedy than a serious staging, which in our age only adds to the film’s popularity.
Many modern viewers would say that despite all the talented people involved in the shooting, the picture (no matter in which country it was shot) is bad because of the very story of the woman who is forced to be an obedient wife. Anyway, in the times of W. Shakespeare, there was no feminist movement, and from this point of view, we should regard this story as historical. And, what is even more important, as Conall Morrison, director of the Royal Shakespeare Company, wrote: “I find it gobsmacking that some people see the play as misogynistic. I believe that it is a moral tale.” So let this moral tale be a part of your quiet evening!
cover photo: kinopoisk.ru
