Elizabeth Taylor in Oliver Messel's original costumes for the Pinewood Studios production of Cleopatra. Elizabeth was so sick during this time that she was driven to the studio, put on the costumes and photographed, and immediately driven back to her hotel to rest. Because of her illness, the Pinewood Studios production of the film was abandoned and Elizabeth left the UK to go back to the warmer weather in California. After her health improved, the production was moved to Italy by 20th Century Fox; Messel's costumes were scrapped and Irene Sharaff's costumes were used in the new Cleopatra. However, before filming was even started, Elizabeth caught a terrible bout of pneumonia which led to her receiving an emergency tracheotomy and being officially pronounced dead. Obituaries were released around the world, but she pulled through and went on to complete Cleopatra—which although nearly bankrupting 20th Century Fox, became the top film of 1963.
Elizabeth Taylor arriving in Amsterdam, 1973.
Elizabeth Taylor arriving at the 1957 Cannes Film Festival, Cannes, France.
Elizabeth Taylor at the David di Donatello Awards in Rome, 1962. Photo by Elio Sorci.
Elizabeth Taylor photographed by Loomis Dean while filming "Reflections in a Golden Eye" (1967).
Elizabeth Taylor, 1952
Elizabeth Taylor with cats through the years.
Elizabeth Taylor at the premiere of “Suddenly Last Summer” and it’s premiere party, December 1959. Photographed with: Eddie Fisher, Tennessee Williams, Rock Hudson, Laurence Harvey, Mel Ferrer, and Audrey Hepburn.
"As movie stars go, Dame Elizabeth was the gold standard. She was always a creature of paradoxes: possessed of exquisite beauty, she loved to curse like a longshoreman. She lived her life out loud and in public, yet she ensured her four children and ten grandchildren a private life, which they enjoy to this day. Raised in relative luxury by an art dealer and an actress, she loved the company of working men and women, made friends with the crews of all her films, and embraced Richard Burton’s Welsh coal mining family. She was comfortable with vulgarity. She ate and drank to her heart’s content. Her lust for life informed everything she did, and everything she did was outsized: her eight marriages (two of them to Burton, the love of her life); her six decades’ worth of films; her two Academy awards; her astonishing jewels, including the 33.19-carat Krupp diamond and the 69.42-carat Taylor-Burton Diamond. The English called her “The Wife of Bath.” She was made a Dame of the Realm in 2003. She knew how to be a movie star and, in truth, her stardom and her fabled personal life eclipsed her real gifts as an actress—gifts that most dazzled in A Place in the Sun, Cat on a Hot Tin Roof, Suddenly Last Summer, Butterfield 8, Who’s Afraid of Virginia Woolf?, and The Taming of the Shrew. She taught the theatrically trained Burton how to act for the camera: he praised her quality of stillness, and learned from it. But off-stage, and in the third act of her life—when Richard was gone, when her marriages to John Warner and Larry Fortensky were over, when her late-career forays into acting on film, onstage, and in television ended—she was anything but still. Some might say her third act was her greatest, and her most fearless. Like Maggie the Cat, she seemed to have nine lives, as she survived a brain tumor, a broken back, the scoliosis she’d had since birth, hip replacements, and heart surgery. In the early 1990s, she took on the daunting cause of raising awareness of and finding a cure for AIDS, by founding the Elizabeth Taylor AIDS Fund—at a time when mainstream America was still recoiling from the disease, and from gay America." — Vanity Fair. Photo of Elizabeth at the premiere of "Moby Dick" in Los Angeles, 1956.
Elizabeth Taylor photographed by Sharok Hatami for French Elle Magazine, 1963.
Elizabeth Taylor at the premiere of “Staircase” in October of 1969.
Elizabeth Taylor wearing Bulgari emerald earrings (a gift from Richard Burton) and her Cartier tiara (a gift from Mike Todd) in 1963.
Elizabeth Taylor for "Love Is Better Than Ever" (1952).
George, our son does not have blue hair or blue eyes, for that matter.
"In Stevens's Giant, she was a Virginia bloom transported as the yellow rose of Texas; in Cat on a Hot Tin Roof and Suddenly Last Summer, a Tennessee Williams heroine exorcizing the demons of men's desires; in Butterfield 8, a chic call girl digging her stiletto heel into the cowhide of Laurence Harvey's thick skin. Taylor was exploring a wider, smarter, grander dramatic range: a dream of womanly invitation who could escalate without warning into arias of sexual confession or recrimination. In each role she found the starting point for a creative journey at the crossroads of modern femininity, or proto-feminism, and ageless star quality." — Richard Corliss.
Photo by Bert Six, 1956.
Elizabeth Taylor presenting at the 1949 Oscars.