BROADWAY HONOURS ELIZABETH TAYLOR TONIGHT

Posted in Elizabeth Taylor, Theatre on March 25, 2011 by Miranda Wilding

FROM THE ASSOCIATED PRESS

Broadway will honour ELIZABETH TAYLOR by dimming its lights this evening.

THE BROADWAY LEAGUE, the national trade association, said Thursday that theatre marquees will go dark at 8 PM for one minute in memory of the legendary superstar.

The actor died in Los Angeles on Wednesday at age 79.

ELIZABETH TAYLOR made her first appearance on Broadway in the 1981 revival of LILLIAN HELLMAN’S THE LITTLE FOXES and was nominated for a BEST ACTRESS TONY AWARD.

Ms. Taylor returned to Broadway in 1983 as producer and star of NOEL COWARD’S PRIVATE LIVES opposite her former husband RICHARD BURTON. She also produced THE CORN IS GREEN that year.

Known primarily as a film performer, Ms. Taylor did appear in movie adaptations of stage plays, such as TENNESSEE WILLIAMS’ 1950s classic CAT ON A HOT TIN ROOF.

ELIZABETH TAYLOR: THE MOST GLAMOROUS MOVIE STAR

Posted in Elizabeth Taylor, Glamour on March 24, 2011 by Miranda Wilding

FROM THE ASSOCIATED PRESS

ELIZABETH TAYLOR was the antithesis of today’s Hollywood fashion icon, who is eager to be seen as an everywoman. She was always dressed like a movie star: hair done, perfect makeup and plenty of jewelry.

And while she was famous for her ACADEMY AWARDS, iconic roles and many husbands, she was most renowned for her beauty — the incandescent violet eyes, alabaster skin, pouty lips and glossy raven hair. She died Wednesday at 79 from congestive heart failure.

The public saw her mature from a young girl in NATIONAL VELVET to the sultry CLEOPATRA. Yet no matter the time, place or role, her glamour was consistent…and that was inspiring to women.

“Every quality that we consider classically beautiful, she had,” said AMY KELLER LAIRD, beauty director at ALLURE.

“She was sexy and girlish. She had both those qualities all through her life.”

In 1951, Ms. Taylor showed off her legendary 19 inch waist in a strapless dress with a bodice top, full tulle skirt and delicate flowers at the neckline designed by EDITH HEAD. She had the same influence on lingerie styles after she wore a lace trimmed slip in BUTTERFIELD 8. And black kohl eyeliner was all the rage after CLEOPATRA.

HAL RUBINSTEIN of IN STYLE said he had the pleasure of meeting the legendary star several times.

“As a child, she was eerily beautiful — she never had a child’s face, and as a woman, she was unmatchably beautiful,” he said.

In person, the most striking thing about her was her impeccable features. But her broader appeal, the one the world saw in photographs, was her overall glamour.

“When she walked into a room, she just had the most amazing presence about her,” added designer ELIZABETH EMANUEL, who is best known as PRINCESS DIANA’S wedding dress designer but who also made several looks for Ms. Taylor.

“She was just incredible.”

The big studios trained her to always step out the door as glamourpuss ELIZABETH TAYLOR: She wore the role of movie star all the time and she didn’t apologize for it.

“She was an incredible beauty and she had an awareness of her own beauty. Even those we think are great beauties today play it down and speak modestly — there’s always something they don’t like and they apologize for it. But she never did,” HAL RUBINSTEIN remarked.

“She was aware of her gifts and truly appreciated them.”

He also noted that Ms. Taylor made sure any and all of her suitors, from boyfriends and husbands to reporters, knew that she liked presents and that she expected them. After all, one of the most important diamonds of all time, a 69 carat stone, was a gift from husband Number 5 and 6, RICHARD BURTON. It is now known as the TAYLOR BURTON DIAMOND.

Ms. Taylor not only owned many pieces of statement jewelry — unlike today’s stars, who often borrow them — but she’d wear them often instead of storing them. That goes back to the movie star thing.

At the OSCARS in 1970, she asked EDITH HEAD to create a gown that would show off her necklace, ending up in a blue gown with a very low V neckline.

“Elizabeth Taylor was a style icon who always followed her own unique and daring fashion vision,” said Jamie Cadwell, director of the Diamond Information Center, a trade organization.

“Her love of jewelry was unsurpassed and women everywhere continue to be inspired by her incredible collection.”

In her clothes, Ms. Taylor had a preference for draping, said ELIZABETH EMANUEL. Her longevity as a style influencer is proven by the long time success of her fragrance collections launched with ELIZABETH ARDEN. WHITE DIAMONDS, which followed 1980s era PASSION and was one of the original celebrity perfumes, has been a beauty counter bestseller for 20 years.

The fragrances will continue, according to a company statement.

“Our best tribute to Elizabeth Taylor will be to continue the legacy of the brands she created and loved so much,” said chair and CEO E. SCOTT BEATTIE.

“White Diamonds is still one of our readers’ favourite fragrances. The fact that hers has stood the test of time, even though every hot celebrity has a fragrance, says a lot about her as a beauty icon,” stated ALLURE’S AMY KELLER LAIRD.

THE LEGENDARY ELIZABETH TAYLOR PASSES AWAY AT 79

Posted in Elizabeth Taylor on March 24, 2011 by Miranda Wilding





Once in a very great while, someone rare and extraordinary comes along. That person becomes your touchstone – somebody you admire intensely for so many different reasons that their influence is always with you.

ELIZABETH TAYLOR has been my idol since childhood. I wanted to be just like her.

Her elemental gorgeousness was unparalleled. She was the most beautiful woman who ever walked the earth – a breathtaking bewitching violet eyed goddess who made every man that crossed her path weak from yearning.

However, it was much much more than that. I loved the fact that she lived her life full out – gloriously and with no regrets – and she made damn sure that no one was ever going to interfere with that. She was a compelling screen presence with glamour and talent to burn.

But this passionate ultrafeminine woman was not content to rest on her laurels. She was devoted to her partners, children and friends. She lived a privileged existence but she had enormous compassion for others, going to the wall for the causes and issues that she most fervently believed in.

Ms. Taylor was an endlessly fascinating human being who made a significant mark on the world.

It devastates me to report her passing. I hope that, wherever she is, she’s aware of how many people adored her.

Me especially.

There was only one ELIZABETH TAYLOR. That’s all there could ever be.

The fabulous LISA SCHWARZBAUM of EW has a moving remembrance here.

And, at the end of this post, you can savour a clip from A PLACE IN THE SUN, one of the classic motion pictures that Ms. Taylor appeared in.

It’s one of my all time favourite film moments.

ELIZABETH TAYLOR, the Hollywood superstar whose achievements as an actor were often overshadowed by her rapturous looks and real life dramas, has died.

She was 79.

A spokesperson at Cedars Sinai Medical Center announced that Ms. Taylor died Wednesday at 1:28 a.m. Pacific time. Her publicist SALLY MORRISON said the cause was complications from congestive heart failure. Ms. Taylor had had a series of medical setbacks over the years and was hospitalized six weeks ago with heart problems. Her four children were at her side at the time of her passing.

During a career that spanned six decades, the legendary beauty with lavender eyes won two OSCARS and made more than 50 films, performing alongside such fabled leading men as MICHAEL CAINE, WARREN BEATTY, PAUL NEWMAN, ROBERT MITCHUM and RICHARD BURTON, whom she married twice.

Long after she faded from the screen, she remained a mesmerizing figure, blessed and cursed by the extraordinary celebrity that molded her life through its many phases: She was a child star who bloomed gracefully into an ingenue; a femme fatale on the screen and in life; a canny peddler of high priced perfume; a pioneering activist in the fight against AIDS.

No other famous female presence matched Ms. Taylor’s hold on the collective imagination. In the public’s mind, she was the dark goddess for whom playing CLEOPATRA required no great leap from reality.

ELIZABETH TAYLOR, NEW YORK TIMES critic VINCENT CANBY once wrote, “has grown up in the full view of a voracious public for whom the triumphs and disasters of her personal life have automatically become extensions of her screen performances. She’s different from the rest of us.”

When Ms. Taylor was honoured in 1986 by THE FILM SOCIETY OF LINCOLN CENTER, Mr. Canby wrote in THE NEW YORK TIMES, “More than anyone else I can think of, Elizabeth Taylor represents the complete movie phenomenon — what movies are as an art and an industry and what they have meant to those of us who have grown up watching them in the dark.”

Ms. Taylor’s popularity endured throughout her life, but critics were sometimes reserved in their praise of her acting. In that sense she may have been upstaged by her own striking beauty. Could anyone as lovely as ELIZABETH TAYLOR also be exquisitely talented?

The answer, of course, was an emphatic yes.

JOSEPH L. MANKIEWICZ, who directed her in SUDDENLY LAST SUMMER and CLEOPATRA, saw her for the first time in Cannes when she was just 18.

“She was the most incredible vision of loveliness I have ever seen in my life,” he said.

Mr. Mankiewicz admired her professionalism. “Whatever the script called for, she played it. The thread that goes through the whole is that of a woman who is an honest performer. Therein lies her identity.”

MARILYN MONROE was the quintessential sex goddess, GRACE KELLY the ice queen, AUDREY HEPBURN the eternal gamine. Ms. Taylor was beauty incarnate. As the director GEORGE STEVENS said when he chose her for A PLACE IN THE SUN, the role called for the “beautiful girl in the yellow Cadillac convertible that every American boy, some time or other, thinks he can marry.”

There was more than a touch of Ms. Taylor herself in the roles she played. She acted with the magnet of her personality. Although she could alter her look for a part — putting on weight for MARTHA in VIRGINIA WOOLF or wearing elaborate period costumes — she was not a chameleon, assuming the colouration of a character. Instead she would bring the character closer to herself. For her, acting was “purely intuitive.”

As she said, “What I try to do is to give the maximum emotional effect with the minimum of visual movement.”

Sometimes her film roles seemed to be a mirror image of her life. More than most movie stars, she seemed to exist in the public domain. She was pursued by paparazzi and denounced by the Vatican. But behind the seemingly scandalous behaviour was a woman with a clear sense of morality: she habitually married her lovers. People watched and counted, with vicarious pleasure, as she wed again and again — enough marriages to certify her career as a serial spouse.

Asked why she married so often, she said in an assumed drawl: “I don’t know, honey. It sure beats the hell out of me.”

In a lifetime of emotional and physical setbacks, serious illnesses and accidents and several near death experiences, Ms. Taylor was a survivor.

“I’ve been lucky all my life,” she stated just before turning 60.

“Everything was handed to me: looks, fame, wealth, honours, love. I rarely had to fight for anything. But I’ve paid for that luck with disasters.”

At 65, she said on the ABC program 20/20: “I’m like a living example of what people can go through and survive. I’m not like anyone. I’m me.”

Her life was played out in print: miles of newspaper and magazine articles, a galaxy of photographs and a shelf of biographies, each one painting a different portrait.

“Planes, trains, everything stops for Elizabeth Taylor. But the public has no conception of who she is,” remarked RODDY McDOWELL, who was one of her earliest costars and a friend for life.

“People who damn her wish to hell they could do what they think she does.”

There was one point of general agreement: her astonishing intoxicating beauty. As cinematographers noted, her face was flawlessly symmetrical; she had no bad angles and her eyes were of the deepest violet.

Her passions were legend. She loved to eat. She loved men, dating many of the world’s richest and most famous – marrying eight times, including the two visits to the altar with RICHARD BURTON. She loved jewels, amassing huge and expensive baubles the way children collect toys.

“It would be very glamorous to be reincarnated as a big ring on Elizabeth Taylor’s finger,” ANDY WARHOL once mused about the woman who owned the 33 carat KRUPP diamond — a gift from RICHARD BURTON that she wore daily. It broadcast to the world that she was a lady with an enormous lust for life.

But Ms. Taylor attracted misfortune as well. According to one chronicler, she suffered more than 70 illnesses, injuries and accidents requiring hospitalization, including an appendectomy, an emergency tracheotomy, a punctured esophagus, a hysterectomy, an ulcerated eye, smashed spinal discs, skin cancer and hip replacements. In 1997, she had a benign brain tumour removed. By her own count, she nearly died four times.

In 2004 she disclosed that she had congestive heart failure and crippling spinal problems that left her in constant pain. For much of her life she struggled with alcohol and prescription painkillers.

She was often described as the quintessential TENNESSEE WILLIAMS hero, a characterization Ms. Taylor did not dispute.

It meant, she once told THE LOS ANGELES TIMES, “steamy, full of drama. I’m sure they didn’t mean it kindly. Tennessee’s heroes are all fraught. They’re all on the brink of disaster.”

On the evening of October 6, 1991, two dozen helicopters carrying paparazzi and reporters whirred in the skies above singer MICHAEL JACKSON’S ranch in Santa Barbara County. Despite an armada of hot air balloons launched as a shield against prying eyes, a parachutist wearing a camera on his helmet managed to land mere yards from the 59 year old bride and her 39 year old groom.

Thus were ELIZABETH TAYLOR and construction worker LARRY FORTENSKY wed — amid Hollywood hoopla and conjecture about whether the movie star’s eighth walk down the aisle would be her last.

Who could know? The only sure thing was that ELIZABETH TAYLOR adored men.

“I’m more of a man’s woman,” she once admitted.

“With men, there’s a kind of twinkle that comes out. I sashay up to a man. I walk up to a woman.”

She was 17 when Husband Number 1 laid eyes on her. That was CONRAD NICHOLSON HILTON JR., the handsome scion of the Hilton hotel clan. Their 1950 marriage, burdened by Ms. Taylor’s celebrity and Mr. Hilton’s gambling, drinking and abusive behaviour, lasted eight months.

Number 2 was MICHAEL WILDING, a British actor 20 years her senior, whose gentleness offered Ms. Taylor a safe haven. They had two children: MICHAEL, born in 1953, and CHRISTOPHER, born in 1955. They were divorced in 1957 after five years.

Number 3 was MIKE TODD, a flamboyant producer who would be one of the two great loves of her life.

“He had a joy, a relish about being alive, a vitality that was so contagious,” Ms. Taylor wrote about Mr. Todd.

“He was a fabulous con artist – could con the gold out of your teeth – but was terribly, gregariously generous.”

After he delivered an hour long monologue about why they should marry and a 30 carat diamond to seal the deal, they exchanged vows in 1957. They had been married slightly more than a year when, on March 22, 1958, he was killed in a plane crash in New Mexico, leaving Ms. Taylor a widow at 26.

In the days following her husband’s death, EDDIE FISHER — the singing idol who was MIKE TODD’S best friend and actor DEBBIE REYNOLDS’ husband — spent long hours by Ms. Taylor’s side, crying with her as they read through thousands of sympathy letters and telegrams. When mutual consolation turned into romance, Mr. Fisher broke up with Ms. Reynolds and married Ms. Taylor in 1959.

After the wedding, Ms. Taylor’s career reached new peaks, but Mr. Fisher’s flagged, creating an opening for the second great love of her life.

The future Number 5 met Ms. Taylor at a Sunday afternoon swim party.

“She was, I decided, the most astonishingly self contained, pulchritudinous, remote, removed, inaccessible woman I had ever seen,” RICHARD BURTON wrote in a diary passage quoted in MELVYN BRAGG’S 1988 biography of the Welsh actor. She was, Mr. Burton said, “beautiful beyond the dreams of pornography.”

“Has anybody ever told you that you’re a very pretty girl?” said the amorous actor.

Her reaction: “Here’s the great lover, the great wit, the great intellectual of Wales and he comes out with a line like that!”

He and Ms. Taylor began a tempestuous affair in Rome on the set of CLEOPATRA, the epic about the Egyptian queen who dies for love. Because both were huge stars married to other people, their adultery caused a worldwide scandal. A member of Congress introduced a motion to ban them from the U.S. and the Vatican condemned their “erotic vagrancy.”

Such bad press, Hollywood columnist LOUELLA PARSONS wrote, “ought to have killed them.” Others joked that it only encouraged the besotted stars. After a two year separation, Ms. Taylor divorced Mr. Fisher in early 1964 and married RICHARD BURTON.

Theirs was a marriage on a grand scale. She gave him a VAN GOGH. He lavished her with priceless gems, including the behemoth KRUPP diamond and a 25 carat heart shaped pendant of diamonds, rubies and emeralds originally made for the bride of the man who built the Taj Mahal.

Mr. Burton also outbid shipping magnate Aristotle Onassis for a $1.1 million, 69 carat diamond ring from CARTIER in New York that became known as the TAYLOR BURTON DIAMOND.

America’s most famous pair not only spent extravagantly, but also fought and drank to excess. When their union finally unravelled, RICHARD BURTON told THE LONDON DAILY MAIL: “You can’t keep clapping a couple of sticks [of dynamite] together without expecting them to blow up.”

They were divorced by a Swiss court on June 26, 1974.

The next year they retied the knot before an African tribal chief in Botswana. Less than a year later, in 1976, they severed the tie in a Haitian divorce. But their love for each other continued.

Ms. Taylor said that if Mr. Burton had not had a fatal brain hemorrhage in Geneva in 1984 she probably would have wound up with him a third time. “I was still madly in love with him until the day he died.” Long after his death, she kept a copy of his last letter — penned three days before his death — in her bedside drawer. She allowed many of the letters to be published in the book FURIOUS LOVE by SAM KUSHNER and NANCY SCHOENBERGER.

Husband No. 6 appeared when the screen goddess needed an escort for a dinner honouring Queen Elizabeth and then President Ford. The British Embassy paired her with JOHN WARNER, a ruggedly handsome former secretary of the Navy and gentleman farmer from Virginia. They were married in 1976 and in 1978 he was elected to the U.S. Senate.

Although Ms. Taylor had been a devoted campaigner, she found she was ill suited for the role of political wife. Seeking relief in acting, she starred in a Broadway production of LILLIAN HELLMAN’S THE LITTLE FOXES and spent a year on the road. In 1982 she officially canceled her run as the senator’s wife and moved to a mansion in Bel Air.

By the end of 1983, she was burned out – abusing alcohol and pills. Confronted by her family and close friend RODDY McDOWALL, she checked into The Betty Ford Center in Rancho Mirage, where she slept in a dormitory, went on clean up detail and, as she later told writer DOMINICK DUNNE, was “peeled down to the absolute core” in group therapy sessions. Her public announcement that she was being treated for substance abuse encouraged other celebrities to disclose their own struggles.

Newly clean and sober, Ms. Taylor held on to her health for a few years, until pain from a crushed vertebrae sent her back to pills and booze.

During her second visit to The Betty Ford Center in 1988, she met Mr. Fortensky, a twice married construction worker who was seeking treatment for a drinking problem. After leaving the clinic, Ms. Taylor invited him to Bel Air for weekend barbecues and attended Alcoholics Anonymous meetings with him. Later she would tell gossip columnist LIZ SMITH that she was attracted to the new man in her life because “he wasn’t a wimp…and I’m not a wimp.”

After the wedding in 1991, Mr. Fortensky tried to resume his working man’s routine, rising before dawn to head to his construction job. At the end of the day, he would park his boots outside the mansion door, shower and sit down to dinner with his wife by 6 p.m.

The regimen seemed exotic to Ms. Taylor, who told LIFE Magazine in 1992: “I used to go to bed at 1 or 2 in the morning. Now we’re in bed by 10 o’clock and I have to admit I like it.”

But the charm wore off after Mr. Fortensky stopped working. Citing irreconcilable differences, she filed for divorce in 1996 and swore off marriage.

“I don’t want to be a sex symbol,” she once said.

“I would rather be a symbol of a woman who makes mistakes, but a woman who loves.”

ELIZABETH ROSEMOND TAYLOR was born in London to American parents on FEBRUARY 27, 1932. Her mother, a former stage actor named SARA SOTHERN and her father art dealer FRANCIS TAYLOR, gave her and brother HOWARD seaside holidays, servants and plenty of toys. Adults doted on little ELIZABETH, who had luminous eyes and alabaster skin framed by raven black tresses.

When she was 7, her family moved to Beverly Hills, where FRANCIS managed an art gallery in THE BEVERLY HILLS HOTEL. With her incredible looks along with a mother who aggressively pushed her into auditions, ELIZABETH was noticed by talent scouts and soon had a contract at UNIVERSAL PICTURES. In 1942 at age 10 she made her film debut in the little noticed comedy THERE’S ONE BORN EVERY MINUTE.

She changed studios in 1943 when MGM was looking for a dog loving English girl to play a small role in LASSIE COME HOME. Ms. Taylor landed the part and became a contract player.

Critics did not really take notice of her until she was cast in NATIONAL VELVET as VELVET BROWN, a girl who dreams of riding in England’s GRAND NATIONAL steeplechase.

“I wouldn’t say she is particularly gifted as an actress,” JAMES AGEE wrote in THE NATION in 1944.

“She strikes me, however, if I may resort to conservative statement, as being rapturously beautiful. I think that she and the picture are wonderful and I hardly know or care whether she can act or not.”

Since childhood Ms. Taylor had been surrounded by pets. At the height of her fame, when she was not allowed to take her dogs to London because of a quarantine rule, she leased a yacht for them at a reported cost of $20,000 and moored it on the Thames.

After the success of NATIONAL VELVET, it was difficult for Ms. Taylor to call her life her own. Her contract, she said later, “made me an MGM chattel” for the next 18 years. The studio chose her roles, controlled her public appearances, picked her dates and stage managed her first wedding. After a string of ingenue roles, she won her first romantic lead opposite ROBERT TAYLOR in the forgettable melodrama CONSPIRATOR (1950).

In 1951, she made the skeptics – who considered her nothing more than a gorgeous teenage flavour of the month – sit up and take notice with her work in A PLACE IN THE SUN, directed by GEORGE STEVENS. Playing ANGELA VICKERS, a restless, sexually eager society girl drawn to a
man from a lower class background, Ms. Taylor won her first critical praise as a young adult.

GEORGE STEVENS later hired her for another demanding role in GIANT (1956), an epic about two generations of Texans. Critics hailed her artistry, her “astonishing revelation of unsuspected gifts,” as THE TIMES OF LONDON put it.

Her next three films would bring her consecutive OSCAR nominations.

The first was for RAINTREE COUNTY, a 1957 release. Ms. Taylor played a passionate Southern belle descending into madness.

The next nomination was for her portrayal of MAGGIE in TENNESSE WILLIAMS’ classic CAT ON A HOT TIN ROOF (1958). Ms. Taylor portrayed the beautiful sexually seething wife of PAUL NEWMAN, the alcoholic, latently homosexual son of a Mississippi plantation owner. Although she was widowed in the midst of filming when MIKE TODD’S plane crashed, she managed to turn in a performance widely considered one of the best of her career.

“She was an intuitive actress,” PAUL NEWMAN said years later of the woman who never took an acting lesson.

“I was always staggered by her ferocity and how quickly she could tap into her emotions. It was a privilege to watch her.”

Her third nomination recognized her work in SUDDENLY LAST SUMMER, another TENNESSEE WILLIAMS story, which explored insanity, homosexuality and cannibalism.

A commercial success like CAT ON A HOT TIN ROOF, it boosted Ms. Taylor into the box office top 10 for the first time. She remained in the top 10 almost every year for the next decade.

In 1961 she won her first OSCAR for her portrayal of a fast living model involved in a tortured affair with a married man in BUTTERFIELD 8. Although she hated the part and the script, she agreed to the role because it ended her contractual obligations to MGM.

Her next project was CLEOPATRA for TWENTIETH CENTURY FOX. Ms. Taylor was loath to take the title role and set her asking price at $1 million. According to EDDIE FISHER, she eventually earned $7 million from the film after her percentages and other fees were paid.

With a record breaking final price tag of $62 million, the film ushered in a new era of excess in Hollywood. It nearly bankrupted FOX, which was forced to sell its back lot bordering Beverly Hills to a developer, who turned those 200 acres into Century City.

The production also launched the most turbulent period of Ms. Taylor’s life. She contracted pneumonia during filming in Rome and underwent an emergency tracheotomy. She was reported to be near death for days.

After she recovered and returned to the CLEOPATRA set, headlines around the world began to scream details of her affair with RICHARD BURTON. When the movie was finally released in 1963, the reviews were brutal. But audiences flocked to see its romantically inflamed stars.

In 1966 Ms. Taylor and Mr. Burton were cast against type in EDWARD ALBEE’S drama of marital angst WHO’S AFRAID OF VIRGINIA WOOLF.

Ms. Taylor gained 25 pounds and donned a gray wig and extra padding to play MARTHA, the frumpy, foul mouthed, highly educated wife of Mr. Burton’s easily dominated college professor. She was reportedly terrified by the challenge of playing a role so far removed from her usual persona.

Director MIKE NICHOLS put them and the other two cast members — GEORGE SEGAL and SANDY DENNIS — through weeks of private rehearsals and closed the set during filming. Mr. Nichols said that he considered her “one of the greatest cinema actresses.”

Critics lavished praise on her performance, calling it her best work ever. The film won five OSCARS, including Ms. Taylor’s second for BEST ACTRESS. She also won awards from THE NATIONAL BOARD OF REVIEW, THE NEW YORK FILM CRITICS CIRCLE, THE GOLDEN GLOBES as well as the forerunner of the BAFTA.

From that point on, she played a surprisingly broad range of roles, including a rollicking performance as a bitchy wife in the 1972 movie X Y & ZEE. Critic PAULINE KAEL, writing in THE NEW YORKER, said that Ms. Taylor knocked “two fine performers [Michael Caine and Susannah York] right off the screen.”

She also dabbled in television movies and returned to the stage, earning mixed reviews on Broadway in 1981 in THE LITTLE FOXES. In 1983, she reunited professionally with RICHARD BURTON in the NOEL COWARD farce PRIVATE LIVES, a play about two divorced people whose romance is rekindled by a chance meeting.

Ms. Taylor eventually turned to business. In 1987 she introduced ELIZABETH TAYLOR’S PASSION, a perfume sold in a purple heart shaped flask for $165 an ounce. It would become the fourth best selling women’s fragrance in America, grossing $70 million a year. In the 1990s she created WHITE DIAMONDS, another successful fragrance.

Ms. Taylor said she would have relished more character roles but the market was limited for glamour queens of a certain age. Neither could she slowly fade away: Her every move was still fodder for the tabloid press.

“So I thought, ‘If you’re going to screw me over, I’ll use you,”’ she told VANITY FAIR in 1992.

“I could take the fame I’d resented so long and use it to do some good.”

Ms. Taylor had many gay friends and, as the AIDS epidemic mushroomed, some of them were dying. In 1985, she became the most prominent celebrity to back what was then a most unfashionable cause. She agreed to chair the first major AIDS benefit, a fundraising dinner for the nonprofit AIDS Project Los Angeles.

She began calling her A list friends to solicit their support. Some of Hollywood’s biggest stars turned her down. Ms. Taylor redoubled her efforts, aided along the way by the stunning announcement that ROCK HUDSON, the handsome matinee idol and GIANT costar, had the dreaded disease. She stood by Mr. Hudson, just as years later she would stand by pop idol MICHAEL JACKSON during the latter’s struggle to defend himself against child abuse allegations.

Thanks to Ms. Taylor’s high profile and public sympathy for ROCK HUDSON, the star studded AIDS fundraiser netted $1 million and attracted 2,500 guests, including former First Lady Betty Ford. Mr. Hudson was too ill to attend but used the occasion to release a major public statement about his illness.

RANDY SHILTS, who wrote the pioneering AIDS chronicle AND THE BAND PLAYED ON, said that Ms. Taylor made a profound difference.

“Elizabeth Taylor got AIDS on Entertainment Tonight and you can’t underestimate the value of that kind of exposure. It made the disease something that respectable people could talk about.”

Ms. Taylor went on to cofound – with Dr. MATHILDE KRIM – the first national organization devoted to backing AIDS research, THE AMERICAN FOUNDATION FOR AIDS RESEARCH, or AmFAR. In 1991 she formed THE ELIZABETH TAYLOR AIDS FOUNDATION, which directly supports AIDS education and patient care. She called for AIDS testing and emphasized personal responsibility in prevention of the disease.

“People shouldn’t stop having sex — I’d be the last person in the world to advocate that — but safe sex is important.”

Her AIDS work brought her THE LEGION OF HONOR, France’s highest civilian award in 1987 and the ACADEMY OF MOTION PICTURE ARTS & SCIENCES’ JEAN HERSHOLT HUMANITARIAN AWARD in 1993. In 2000, Queen Elizabeth made her a DAME COMMANDER OF THE ORDER OF THE BRITISH EMPIRE, an honour on the level of knighthood.

Through her various efforts she would eventually raise more than $270 million for AIDS prevention and care.

In a statement, MICHAEL WILDING talked about his mother’s incredible impact on the world: “My mother was an extraordinary woman who lived life to the fullest, with great passion, humour and love. Though her loss is devastating to those of us who held her so close and so dear, we will always be inspired by her enduring contribution to our world. Her remarkable body of work in film, her ongoing success as a businesswoman and her brave and relentless advocacy in the fight against HIV/AIDS, all make us incredibly proud of what she accomplished. We know, quite simply, that the world is a better place for Mom having lived in it. Her legacy will never fade, her spirit will always be with us and her love will live forever in our hearts.”

CARRIE FISHER has fond memories of her stepmother: “If my father had to divorce my mother for anyone, I’m so grateful that it was Elizabeth. This was a remarkable woman who led her life to the fullest rather than complacently following one around. She found time to become one of the earliest champions for those living with HIV. She will be missed but never forgotten.”

BARBRA STREISAND paid tribute: “It’s the end of an era. It wasn’t just her beauty or her stardom. It was her humanitarianism. She put a face on HIV/AIDS. She was funny. She was generous. She made her life count.”

MADONNA expressed her condolences: “I am so sorry to hear that this great legend has passed. I admired and respected her not only as an actress but for her amazing and inspiring work as an AIDS activist. She was one of a kind.”

Former President BILL CLINTON and Secretary of State HILLARY RODHAM CLINTON said: “Elizabeth’s legacy will live on in many people around the world whose lives will be longer and better because of her work and the ongoing efforts of those she inspired.”

SHIRLEY MacLAINE discussed her long time friendship: “I don’t know what was more impressive – her magnitude as a star or her magnitude as a friend. Her talent for friendship was unmatched. I will miss her for the rest of my life and beyond.”

MIKE NICHOLS remarked: “The shock of Elizabeth was not only her beauty. It was her generosity, her giant laugh, her vitality, whether tackling a complex scene on film or where we would all have dinner until dawn. She is singular and indelible on film and in our hearts.”

LIZA MINNELLI stated: “She was a true star, because she not only had beauty and notoriety; Elizabeth Taylor had talent. As a friend she was always, always there for me. I’ll miss her for the rest of my life, but I was so lucky to have known her.”

JOAN COLLINS remembers her: She was the last of the true Hollywood icons, a great beauty, a great actress and continually fascinating to the world throughout her tumultuous life and career.”

JULIE ANDREWS stated: “Elizabeth was a dear friend. She was a great legendary lady of Hollywood and she will be mourned worldwide.”

STEVE MARTIN recalled: “She was witty and self deprecating, which I found surprising and delightful. She loved to laugh.”

JOHN TRAVOLTA said: “Elizabeth was the definition of greatness on all fronts. I loved her. She will be incredibly missed.”

EVA MARIE SAINT stated: “She was an incredible talent, and yes, she had those unforgettable eyes. I greatly admire her humanitarian efforts which have touched so many lives. Elizabeth was a very dear, generous and loving lady.”

ELTON JOHN said: “She earned our adoration for her stunning beauty and for being the very essence of glamorous movie stardom. And she earned our enduring love and respect for her compassion and her courage in standing up and speaking out about AIDS when others preferred to bury their heads in the sand.”

ANGELA LANSBURY remembers her friend: “Elizabeth and I began our careers about the same time at MGM. Throughout her tumultuous life, she will be remembered for some unique and memorable work. And she will be ever remembered and appreciated for her forthright support of amfAR.”

WHOOPI GOLDBERG reminisced: “She was just a magnificent woman. She was a great broad and a good friend.”

In late 2007 she made a rare return to the stage to raise another million in a benefit performance of A.R. Gurney’s bittersweet play LOVE LETTERS at PARAMOUNT STUDIOS. Striking Writers Guild members temporarily laid down their picket signs to allow Ms. Taylor and guests to support the event without guilt or rancour. After her moving reading brought the audience to its feet, the star stood up from her wheelchair to acknowledge the ovation.
She was still regal — and covered with diamonds.

Married or single, sick or healthy, on screen or off, Ms. Taylor never lost her appetite for experience. Late in life, when she had one of many offers to write her memoirs, she refused, saying with characteristic panache, “Hell no. I’m still living my memoirs.”

In addition to her sons MICHAEL WILDING and CHRISTOPHER WILDING, ELIZABETH TAYLOR is survived by daughters LIZA TODD and MARIA BURTON; her brother HOWARD TAYLOR; 10 grandchildren and 4 great grandchildren.

Her family plans a private funeral this week. A memorial service will be announced later.

EVA MENDES: THE NEW FACE OF THIERRY MUGLER’S ANGEL FRAGRANCE

Posted in Glamour on March 22, 2011 by Miranda Wilding





EVA MENDES is the new face of THIERRY MUGLER’S fragrance for women, ANGEL.

Previously working her mad sex appeal for CALVIN KLEIN jeans, EVA follows in the footsteps of NAOMI WATTS, who had served as the spokesperson for the fragrance since 2008.

“While Naomi Watts’ ethereal beauty embodied the angelic aspect of the fragrance, Thierry Mugler chose to reignite the enticing and explosive dimensions of the fragrance with the sultry Eva Mendes,” the company said in a statement.

“Though her obviously flawless physical beauty is in perfect harmony with the artist’s aesthetic canon — Ms. Mendes mesmerized Mugler with her independence, determination and humour.”

According to WWD, the actor will appear in worldwide ads for the perfume beginning in September.

LOCK & LOAD

Posted in Hot Video on March 18, 2011 by Miranda Wilding

Our Friday musical highlight is SHOT DOWN IN FLAMES by AC/DC.

And now it’s time for me to exit. Stage left…

FRANK LLOYD WRIGHT: ORGANIC ARCHITECTURE FOR THE 21ST CENTURY

Posted in Art on March 17, 2011 by Miranda Wilding


FROM THE ASSOCIATED PRESS

THE MILWAUKEE ART MUSEUM is taking a new look at FRANK LLOYD WRIGHT on the 100th anniversary of his TALIESIN home in Spring Green, Wisconsin with an exhibit showing the organic side of the prolific architect that features scale models, furniture and photos. Along with all of that, there is video footage and more than 30 drawings that have never before been publicly displayed.

FRANK LLOYD WRIGHT: ORGANIC ARCHITECTURE FOR THE 21ST CENTURY starts with urban plans and a model that he travelled with nationally, trying to promote his vision of a community integrated into the landscape.

The architect, who designed houses, corporate and government buildings, libraries, museums and churches in addition to furniture and lighting, saw his plans as the antithesis to cities being too condensed.

“He was very concerned about conservation of materials, conservation of energy, environment, landscape, all the things which are now becoming so pertinent in a planet, which we seem to be slowly — bit by bit — destroying,” said BRUCE BROOKS PFEIFFER, director of the archives at THE FRANK LLOYD WRIGHT FOUNDATION in Arizona, who worked with him before the architect died in 1959.

“It seems like a good time to remind people that there was a good way in which architecture helped people live better and live in harmony not only with themselves but the planet they are living on.”

Mr. Wright built his BROADACRE CITY model in the 1930s, based on his book THE DISAPPEARING CITY. He revised and expanded the text in 1958 with THE LIVING CITY. Drawings from the book were used by a German museum and the foundation to produce a model in the 1990s. It’s the first time the models have been shown together and will likely be the last time the BROADACRE model will travel because of its fragile condition, said BRADY ROBERTS, chief curator at THE MILWAUKEE ART MUSEUM.

The idea was the culmination of the architect’s work, but never came to fruition.

Mr. Wright was one of the first big name architects to really care about making sure the building and environment were in harmony, stated architectural historian JACK QUINAN. The architect first used the term organic architecture in 1894.

“Wright’s work has endured and is going to be relevant and continue to be relevant largely because of his organic theory — his interest in creating an American architecture that derives from nature crossed with geometry,” remarked Mr. Quinan, who’s on the board of directors for the FRANK LLOYD WRIGHT BUILDING CONSERVANCY.

He noted the DARWIN D. MARTIN House in Buffalo, New York, a prairie home FRANK LLOYD WRIGHT designed around 1903, which was considered odd then. It has a south facade where the sun is somewhat blocked in summer but streams into the house in winter. The house also has sun traps — a series of glass plates so the warm sunshine bounces off the glass and up into the house indirectly.

TALIESIN, in his home town of Spring Green, Wisconsin was Mr. Wright’s longest ongoing architectural work, as he kept changing it for nearly 50 years. To break down barriers between the interior and exterior, he used local limestone and mixed sand from the river into his plaster. There are tall windows in the living room to provide a view of the rolling hills. The windows also provided natural light, which is diffused by the overhanging roof so the house remains cool.

The show also looks at one of Mr. Wright’s life long pursuits, which was to provide affordable housing to low income residents. He designed the AMERICAN SYSTEM BUILT HOUSES — compact, geometric homes assembled on site with factory cut materials to reduce costs. During the Great Depression, he started developing Usonian homes, which were also designed to control costs and had carports but no basements or attics.

BRADY ROBERTS said the exhibition comes as people are changing perspectives due to the financial downturn: Maybe bigger isn’t always better.

“So it’s interesting now to look at Frank Lloyd Wright and how prescient he was to say, ‘No, you can have a beautiful house that is actually very small in terms of a footprint but it can feel quite spacious by being opened up to nature.’ This is very practical and economical, but also it’s another thing we’ve lost in suburban planning, with sort of homogenous cookie cutter houses.”

The 33 new drawings include the V.C. MORRIS HOUSE known as SEACLIFF in San Francisco and the RAUL BAILLERES HOUSE in Acapulco, Mexico — both never built, along with the SETH PETERSON cottage in Lake Delton, Wisconsin and the ANNUNCIATION GREEK ORTHODOX CHURCH in Wauwatosa, Wisconsin.

A large screen shows a four season video of FALLINGWATER in Mill Run, Pennslyvania, with sound; a model of the S.C. JOHNSON ADMINISTRATION BUILDING in Racine, Wisconsin and drawings of THE MARIN COUNTY GOVERNMENT CENTER in California.

The exhibit also looks at UNITY TEMPLE in Oak Park, Illinois, TALIESIN WEST in Scottsdale, Arizona and the BOGK house in Milwaukee. Four hundred and nine of FRANK LLOYD WRIGHT’S 532 completed projects still stand.

“It’s hard to think of another architect who was so prolific who did so many different types of projects who never had a dry period,” BRADY ROBERTS asserted.

The exhibit was organized by THE MILWAUKEE ART MUSEUM, THE PHOENIX ART MUSEUM and THE FRANK LLOYD WRIGHT FOUNDATION. It runs through MAY 15 and will travel to THE PHOENIX ART MUSEUM in 2012.

SALMA HAYEK’S BEAUTY LINE

Posted in Glamour on March 16, 2011 by Miranda Wilding





SALMA HAYEK has been keeping the secret to her glowing skin quiet for years — six or seven years, to be exact.

But now the actor is finally revealing how she — and all the women in her family — get that flawless finish with the debut of her natural skincare line NUANCE. After divulging to PEOPLE in 2009 that she was researching ingredients for a new top secret line, STYLELIST picked up a report that it’s finally happening.

“I always wanted to do this,” SALMA told T MAGAZINE, “because my grandmother, who was a beauty, died at 96 with no wrinkles. And you should see my mother! We have some family secrets.”

NUANCE will feature ingredients from SALMA’S native Mexico, like tepezcohuite and concha nacar, which she says have worked wonders on generations of women in her family because of their antiaging properties.

The affordable line will be available in CVS stores next year.