I like the storyline of this show,it attract me so much

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Often overshadowed by his most famous of love stories (Romeo and Juliet), there is no denying, in this most flamboyant creation of a dramatic comedy and romance, Shakespeare's The Taming of the Shrew is in comparison, highly unknown and unrecognized to the common world of today. However, in saying this, there is also one place where this story is indeed recognisable in many shapes and forms. Though it may not possess the same marketing value as that of Verona's famous pair of star crossed lovers, The Taming of the Shrew has always had an unusual popularity in the world of film. So much that it was this story to be the first put to the screen with sound and dialogue by Sam Taylor in 1929, which made it the first Shakespearian play adapted to film with the actual use of the language. Yet while Taylor's attempts are certainly admirable, there is simply no competing with a Franco Zefferelli production of Shakespeare. In true Zefferelli fashion, his 1967 adaptation is visually spectacular, and from the very first few minutes in, you are immediately captivated by the buoyant spirit and energy present within the streets of our fair Padua. Though Zefferelli is not completely faithful to the original script, it is barely noticeable and easily forgiven as he still remains so wonderfully loyal to the story in many other important ways. For example, through the use of exuberant music and bright costume, Zefferelli manages to intensify the vibrancy of the comical atmosphere as well as the contrasting character personalities. However, the most intensifying aspect to the film in itself is most definitely the acting. There is a clumsy and awkward unpredictability in the energy of the crowds that gather throughout the film. But this is also present in the behaviour of central characters, and there seems to be conflict almost everywhere. Even the little children who carry the train of Kate's wedding dress are fighting. Though this does give it a sort of pantomime feel at times, I believe Zefferelli's intention was to keep the arguments amusing rather than actually violent. Therefore, he chooses to tackle the destructive nature of the play in a way that is true to the story but still entertaining for the audience. A story so renowned for its daring and rambunctious nature, The Taming of the Shrew is truly unique to its time and setting. With a love/hate relationship present between our two central characters (who often seem more prone to violence than anything else) Shakespeare does extremely well in challenging the typical preconceptions of love and marriage between man and woman of the time. Therefore, in order to successfully give us the right balance of this vicious yet amusing relationship on screen, the director's most important task lies in finding the actors who are capable. This is something of which I believe Zefferelli succeeds in more than anyone. With his risky and bold decision in casting a couple almost as notoriously wild as their characters, Zefferelli like others before him, deemed only a real life marriage worthy enough to possess the experience and knowledge needed in order to truly do the relationship justice. The difference was that this couple excelled. The legendary Richard Burton with his long career of Shakespearean drama was the perfect fit as our tamer Petruchio. Although his then wife Elizabeth Taylor was not the most ideal choice as Kate, (with no previous experience of Shakespeare,) it was not her reputation as an actress that landed her the role of the shrew, but her reputation as a tenacious wife. I must admit, as a massive fan of Taylor, I found myself trying extremely hard not to be bias in judging her performance as Kate. Although it wasn't exactly an Oscar winning performance, especially in comparison to Burton as Petruchio, I found Taylor's efforts as Kate truly commendable. Especially after having to bare the close to mute version of her played by Mary Pickford in 1929, I found myself almost grateful for the over dramatic moments given by Taylor. There's no denying that overall Burton was the ultimate star, but I believe that without Taylor as his fiery Kate, the film could have never reached its full potential. This was primarily the reason why Zefferelli took the risk of casting an amateur like Taylor in the first place. He knew that without an independent woman who was just as capable of handling Burton, as Kate is in handling Petruchio, the film would fall flat. And so he bases his decision on the chemistry of the actors rather than the ability to act, as they are truly believable on screen and everything is very natural between them. For example when you see a furious Kate giving Petruchio that signature scowl from across the room, you cannot help but feel like they have exchanged this look a thousand times before. Overall, I found Zefferelli's 1967 adaptation of the Taming of the Shrew truly enjoyable. While the imaginative costume, music and architecture is signature to a Zefferelli creation, it was the rustling and energetic atmosphere of Padua so exceptionally represented that had me immediately enthusiastic from the very beginning. I also found myself extremely grateful for the length of the film, as the 1929 version disappointingly, just ran over an hour long. Though he will always be criticized by some for his decision to not stick to the original script, I believe that Zefferelli was faithful to Shakespeare in all of the important ways. His efforts in paying enough attention to the main characters were his greatest success. As he had learnt from Sam Taylor's mistakes before him in 1929, how that passion and chemistry could very well easily be the determining factor to the films ultimate rise or fall.

The best place for The Taming of the Shrew is in a DeLorean bound for the Stone Age. While I've never been known for my feminist principles even I was aggravated by the outdated plot of Shakespeare's battle of the sexes "comedy". Though produced in a period where women's rights were finally garnering attention, Zeffirelli's adaptation remains mostly oblivious to this fact. With the main gag being domestic violence this film was never going to be a smooth ride for Zeffirelli, yet he treats this issue with the delicacy of a troop of stampeding elephants.So here's the story: Kate (Elizabeth Taylor), a woman with some firepower -okay a LOT of firepower- is too hot for the men of Padua to handle. No big deal, right? Wrong! Until Kate is married off, her sister Bianca must remain single (shock horror!) much to the annoyance of her various suitors. First world problems, eh? Luckily, Petruchio (Richard Burton) a booze-loving, money-grabbing brute comes to town to 'thrive and wive', and that he does, Kate being his chosen victim . . . ahem . . . partner.The first scene of Kate and Petruchio together just goes to prove that when Zeffirelli is good he's good. He captures the brilliant wittiness, the sexual tension, the hint that these two could actually be good together. Sparks fly- along with the furniture. Never mind if Petruchio's flirting is practically sexual harassment-this exchange is an enthralling meeting of minds! Kate certainly gives as good as she gets and is a joy to behold in all her sharp-tongued glory. Yes indeed, things look very promising for Zeffirelli.However, we want serious conflict, drama, obstacles and boy does Petruchio deliver! Cue violence, torture and starvation. Be warned, this is no harmless S & M to spice up the honeymoon, this is Petruchio's disturbing 'taming' process. Naturally this taming concept is challenging to make funny thus the film promptly nosedives. Zeffirelli cannot skilfully navigate the abrupt change in direction. He attempts to continue the bawdy and boisterous tone of previous scenes and this is his downfall. Shockingly, domestic abuse humour just doesn't sit with a modern audience. Let the bra- burning commence!Unfortunately,one of the biggest lures of the film turns out to be one of its biggest turn-offs; Burton as Petruchio. He fails miserably in his misguided attempt to make Petruchio the lovable rogue. Burton's interpretation is no more than an abusive, drunken lout. Whether he actually falls for Kate is irrelevant because he is cruel and revels in her suffering. The taming is a source of entertainment for him which makes his treatment of his wife all the more derogatory and humiliating.Combined with his constant alcohol consumption and 'heh heh heh' chuckle (which is a form of torture in itself) he makes for a despicable and extremely irritating character.Despite the problematic domestic abuse Zeffirellli does create some much needed comedy thanks to the eccentric Hortensio (Victor Spinetti) who wears enough makeup to put Maybelline out of business. Rejoice some gender equality at last! His camp mannerisms and ridiculous high-jinks add light to an often disturbing tale. His general cluelessness makes him an endearing character, so much so that a What Hortensio Did Next spin-off would be greatly appreciated. Hilarious facial expressions and slap-stick humour make him quiet the scene stealer and his ingenious disguise (fake beard and glasses) as he woos Bianca is so bad that it is in fact pretty good. Undoubtedly, Hortensio provides a fun alternative to the overbearing Petruchio.Other highlights include the sumptuous set designs and costumes, particularly Katherine's stunning wedding dress. Certainly this is a visually beautiful film, it's just a shame the other elements didn't come together so seamlessly. Also, Taylor gives a powerhouse performance, executing Kate's infamous speech with great dignity and poise despite stomach-churning lines like 'Thy husband is thy lord, thy life, thy keeper'. Indeed it's a relief to finally see her get the better of her husband when she speedily disappears after their kiss. Yet, strangely in spite of Kate's small triumph during the ambiguous finale the film's overall vision still seems to mock women's rights just as they were coming to the forefront of society.Shakespeare's play provides the perfect platform to make a statement supporting female independence yet Zeffirelli wastes the opportunity, reducing his adaptation to a sketch on physical and mental domestic violence. Considering the film's questionable tagline 'A motion picture for every man who ever gave the back of his hand to his beloved ... and for every woman who deserved it' it seems deliberately misogynistic rather than a lack of skill on Zeffirelli's part, especially given the brilliance of his 1968 Romeo and Juliet.With adaptations as awkward as this, it's no wonder The Taming of the Shrew remains one of the Bard's lesser loved works. Indeed, I never thought I'd see the day when a nineties teen flick was more female empowering than a supposed classic but you'd be better off watching 10 Things I Hate About You (with the added bonus of Joseph Gordon-Levitt!) as Zeffirelli simply doesn't do The Taming of the Shrew justice. Tabloid followers and Taylor-Burton fans will enjoy the antics but for anyone else avoid it like a playhouse in the plague!

Franco Zefferelli's adaption of William Shakespeare's classic play, The Taming of the Shrew, released in 1967 is one of the most effective Shakespeare adaptations of its time. Filled with celebrated actors, decadent costumes, and set against an opulent Italian backdrop, The Taming of the Shrew is a fast-paced and enchanting watch, infused with the classical comedic screenplay which made the original comedy-drama such a success. Zefferelli's adaptation stays true to the original play, whilst also receiving a more contemporary lift, making it an entertaining and enjoyable experience for all modern audiences. This attraction can certainly be partly credited to the casting of two renowned film stars, Elizabeth Taylor and Richard Burton in the leading roles of Katherine and Petruchio. The casting of this particular couple who were actually married at the time allows them to bring their natural chemistry to the screen, adding a fiery disposition to their characters and making the principal relationship more authentic. In fact, the couple were described in the original trailer as playing, 'The motion picture they were made for...need we say more!' Indeed Taylor and Burton seem to intensely connect with their on-screen counterparts, the eccentric and passionate husband and wife. Taylor and Burton excel as the plays principal chaotic duo and for me, they were the major attraction of this adaptation. Taylor perfectly portrays Katherine's tempestuous nature, capturing the wildness of the Shrew so effectively that anyone who had formerly doubted Taylors potential to portray a leading Shakespearean lady were proved extraordinarily mistaken. Likewise Burton flawlessly depicts Petruchio as a self-absorbed and arrogant man, with the flair we have come to expect from the talented actor. Burtons Petruchio excellently emulates his wife's unruliness with his obscene expressions and constant state of inebriation. However, personally it was Taylor's performance in particular which captivated me. The adaptation for the most part stays true to the original plot, one crucial exception is that the traditional Induction is eliminated, commonplace for the majority of Shakespearean adaptations of the epoch. Some of the original subplot is omitted, such as the extent of attention on the relationship between Lucentio and Bianca, making room for more focus on the leading couple. The overall tempo of the film is fast paced, creating a dramatic and entertaining experience. The themes of male chauvinism, domestic violence and the repression of women are dealt with in such a comedic fashion it's easy to forget how harmful and prominent these issues actually are in contemporary society. Fortunately, Taylors Katharina appears to turn the tables on her Petruchio in the end, emphasizing the underlying control held by woman and giving a new edge to the apparently submissive character. The new domesticated Katharina who emerges in the end is ultimately proved to be deceptive by her exit, by cunningly pushing Petruchio to follow her and subjecting to him to scrutiny from his contemporaries. This pursuit is reminiscent of the chase which also occurs in their introduction. This portrays a power reversal which is contrasting to Shakespeare's conclusion and also slightly rebuffs the misogynistic overtone of the film making it evident who is really in charge. This slight alteration which shifts the balance of power is an appealing finale for the female audience. Overall the film retains its comedic aspect which makes it a humorous and enjoyable watch. Zefferelli shoots his exuberant motion picture against a picturesque Italian backdrop, certainly deserving of its two Academy Award nominations, Best Costume Design and Best Art Direction. The opulent costume design is reflective of the era, epitomizing the decadence of dress the 60's has come to be renowned for. The scenery is certainly inspirational, perhaps the sunny Italian atmosphere is intensified by the fact that Zefferelli himself is Italian which makes the environment more authentic, by having a native director who certainly knows what he is doing. These aspects are a key attraction to this version of The Taming of the Shrew, adding to and emphasizing the energy and fervour of the picture. On aspect of the film which was not so favourable and would have greatly added to its appeal had it been more successful was its score. Following the musical success of 'Kiss Me, Kate', which opened in London's West End in 1951, Nino Rota's musical composition feels slightly lacking in drama and excitement, a feature which did not escape the critics. Otherwise, The Taming of the Shrew was received to generally positive reviews from critics at the time of its release and it retains its timeless appeal even now.

Zeffirelli triumphs once again with his version of The Taming of The Shrew by William Shakespeare. The 1967 film version of this play directed by Franco Zeffirelli is one that captures many similarities and differences between this film and Shakespeare's original play text. This film is set in Italy and is based around the marriage of two sisters who come from a wealthy family. Their father declares that until his eldest daughter Katharina is wed he shall not allow any man to pursue his younger daughter Bianca. Katharina's character in this film is very similar to Shakespeare's original portrayal of her, she is fiery, sharp tongued and ill-tempered just as she is in Shakespeare's original play text. In contrast to Katharina is her sister Bianca, Bianca is portrayed as a perfect and obedient character in this film as well as in Shakespeare's original text, however over the course of the film the characters of Katharina and Bianca develop and they change into completely different people to who they were at the beginning of the film and this is another similarity these characters have with the original text of the play. The character of Petruchio is represented in the same manner in which Shakespeare had originally portrayed him. Petruchio is driven by money in this film as he was in the original play text and he loves the idea of taming his shrewish wife Katharina. Zeffirelli makes multiple references to this element of his character for example he dangles things in front of her that she wants and establishes that he will decide if she gets them or not. There are many similarities between this film and the original play text however there are also some significant differences, for example Zeffirelli excludes the opening scene of the play from the film. This doesn't impact the film too greatly though even if we don't know it's a play within a play, as elements of this first scene in the play are seen in the first scene of the film as there is the drunkard tied up in the cage which may represent Cristopher Sly.Another difference between Zeffirelli's film version of this text and the actual play text itself is the comedy that is present throughout the entirety of this film. There are plenty of examples in the film of where comedic references are present one example is at both wedding scenes and both are by instigated by Petruchio, another example is when Petruchio is chasing Katharina around her house, another example is in the scene with Lucentios father just before the wedding. Petruchio seems to be at the heart of most of the comedic scenes in this film which makes him differ from Shakespeare's original portrayal of him in the play text. Zeffirelli's choice in casting for this film was spot on again as Elizabeth Taylor and Richard Burton are outstanding playing the characters of Katharina and Petruchio. There is undeniable chemistry between the two of them and as the film draws to a close this becomes more and more noticeable. Zeffirelli also does an exceptional job of capturing the colour and comedy present at the time in Italy. The costumes for one were outstanding and kept very much with the time capsule in which this play is set, the differences in the costumes of ordinary daily life to the ones at the wedding is captured with phenomenal detail in this film and Zeffirelli does an exceptional job in showing the differences between the two. The differences in costume between a poor woman and a wealthier woman are also present throughout this film as we see Katharina and Bianca in much more luxurious dresses than the less well-off women in this film. The comedic references that are made throughout this film are extremely precise within which time this play was set, for example in the very opening scene when there are people making fun of the drunkard. All in all I believe Zeffirelli's adaptation of "The Taming of The Shrew" by William Shakespeare is outstanding as he focuses on the little details such as the traits in which the characters present throughout the film, the development of Katharina's character, the comedic references throughout the film, the casting choices and the costume design.