It took me a while to get into this book. Although the author breezes quickly through their lives and marriages prior to their meeting, I still felt like I was getting the same old biography, and that I knew most of it already. However, before the cameras even roll on “Cleopatra”, I became intensely captivated. For starters, the author writes extensively about Taylor’s contracts, which typically include all kinds of insane perks, like $3000 a day for ‘small expenses’. The author recognizes this is one of the most interesting ingredients to the Taylor/Burton romance, because with money coming in hand over fist, they would not have been able to lead such enormous lives. Even in 1962 Taylor was hard to insure, but “The V.I.P.s” shot without it and the gamble paid off. When they made “The Sandpiper” there were Taylor and Burton’s acting fees, but M-G-M also had to pay their production company for Taylor’s loanout! They liked Mike Nichols so much that they didn’t fine him the $1 million that they could have for going over schedule on “Virginia Woolf”, even though it was their own fault. At their height, nearly half of Hollywood film grosses came from films starring one or both of them, and in 1967 they released “Taming of the Shrew”, “Dr. Faustus”, “The Comedians”, and “Reflections of a Golden Eye”. At this time they were earning roughly $88 million dollars a year, and spending nearly ¾ on luxuries. They could have stopped acting and lived on half a million yearly in just interest, but they were paying $250,000 yearly to staff and family, to whom they felt alternately loyalty or guilt. Because they lived on a boat and paid no taxes, they had a greater gross income than their close friends, the Rothschilds (Burton would gripe about having to always pick up the check for the Rothschilds).
The author also answers all of my endless questions about why their films became so bad. The answer differs for each film, either in the financing or the director, i.e. Manckiewitz shooting “Cleopatra” as it was being written, Waris Hussien too timid to get Taylor’s attention, a lack of essential truth in the Las Vegas built in France for “The Only Game in Town”, or wanting to work with their friends as favors, as with “Dr. Faustus”. Burton had fun with the challenge of building his career and transitioning to Hollywood, but at the top he became bored, while simultaneously frustrated that Elizabeth had two Oscars and he had none. They both were physical wrecks, Taylor with her constant back pain, Burton with his worsening neck/shoulder pain and internal ailments exacerbated by drinking. He quit drinking many times, but ultimately couldn’t stay sober if Taylor was going to start hitting the vodka at lunchtime.
They lived their life on the grandest scale, Burton competing with Ari Onasis to purchase various diamonds, Taylor’s impromptu trip to Disneyland via helicopter with Dominic Dunne, Roddy McDowall and Peter Lawford (the first time a helicopter was allowed to land in the park), or the time they needed Henry Kissinger to lend them his Secretary of State security detail when they became mobbed in Israel. They became close with the Duke and Duchess of Windsor, one of the few couples who could understand what they were living through. And when Taylor publicly checked herself into rehab, Betty Ford became her sponsor.
The author writes a long section on the purchase of the Cartier Diamond (Burton in a Welsh pub, trying to act like an average bloke while constantly phoning his rep at the auction). In many ways it was the beginning of the end for their allure, as the younger generation became disenchanted with their extravagance when there was so much global unrest and poverty. It also made their relationship more difficult as it restricted her freedom of movement due to insurance – Lloyd’s said that it could only be worn in public 30 days a year. And then there was their awkward appearance on “The Lucy Show” which also centered on the diamond. After their first divorce, Taylor tried to reenter Hollywood (sleeping in Edith Head’s guest room, of course!), only to find that she had become camp without Richard. Had she become a copy of herself, been too many different people, embodied an image that contained too many conflicting signifiers? Taylor and Burton’s wax figures at Madame Tussaud’s were moved together and apart according to their status in the tabloids.
There is also much written about Taylor’s attempt to get him to marry a third time when they did “Private Lives”, but the author spends just as much time on the economics of putting on the show, and contrasting their different processes as actors. Overall, the author takes a very even-handed approach and looks at their relationship from every possible angle, with terrific anecdotes and access to Burton’s bitchy diaries. The author ends with Elizabeth the activist, reviewing what had transpired in her life to make her so daring and compassionate, and recognizing that her activism is perhaps her greatest legacy.