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Elizabeth Taylor is the violet-eyed, raven-haired iconic legend whose scandals, intrigues, marital storms, charitable endeavors, and unforgettable screen performances made her a true screen legend.

Early Years

Elizabeth Rosemond Taylor was born at Heathwood near London on February 27, 1932 to Francis Lenn Taylor and Sarah Viola Warmbrodt. During World War II, her family moved to Los Angeles, where his father opened an art gallery.

Child Actress

Taylor’s first film appearance was in 1942, when she was cast in There’s One Born Every Minute. In 1943, Metro-Goldwyn-Mayer offered the lead role in Lassie Come Home, but her breakthrough came after appearing as the young girl who trained her beloved horse to win the Grand National in National Velvet (1944).

Velvet’s success propelled Taylor to child stardom. She was next cast in the Courage of Lassie (1946), another box office hit that solidified her career. Her other notable performances in the 1940s were Life with Father (1947), A Date with Judy (1948), and Little Women (1948).

Taylor Becomes a Superstar

Her role as the spoiled socialite who stood between Montgomery Clift and Shelley Winters in George Stevens A Place in the Sun (1951), propelled Taylor to superstardom and established her as a dramatic actress. Critical success soon followed with Giant (1956), opposite James Dean and Rock Hudson. She was nominated for Best Actress in the Academy Awards for four consecutive times for her performances in Raintree County (1957), Cat on a Hot Tin Roof (1958), Suddenly Last Summer (1959) and Butterfield 8 (1960). In 1961, she won the Best Actress for her role as a Manhattan call girl in Butterfield 8.

Cleopatra

Cleopatra is perhaps Taylor’s most popular film. She also made history in this film when she was paid $1 million, the first actor to receive such a hefty paycheck; she eventually pocketed $7 million, owning part of the film’s profits. The film topped 1963′s box office list, earning more than $26 million but, it was also a substantial money loser because of its excessive cost of production at $44 million.

Who’s Afraid of Virginia Woolf?

Taylor’s appearance in Who’s Afraid of Virginia Woolf (1966) was considered as her most critically acclaimed, winning her the Academy Award for Best Actress in 1967. Her other remarkable performances for the rest of the 1960s were in Reflections of a Golden Eye (1967) opposite Marlon Brando, and Secret Ceremony (1968) opposite Mia Farrow. Her film career waned in the 1970′s, with the live-action, big-screen version of The Flintstones (1994) as her last feature film.

Taylor’s Marriages and Richard Burton

Taylor married eight times, twice to actor and onscreen partner Richard Burton. Their marriage was highlighted by their extravagant lifestyle, making headlines after Burton bought Taylor a diamond from Cartier that weighed almost 70 carats.

AIDS Activism

The death of Taylor’s close friend Rock Hudson in 1985 spurred her to be an active AIDS advocate. Taylor dedicated much of her time and attention to raising funds and spreading awareness for this cause.

The man was a great actor who influenced generations. Brando had a style that could be brooding with a rage and intensity level that was explosive. It didn’t necessarily always come to the surface which of course made him even more fascinating to watch. This combined with the many personal touches he gave his characters makes him definitely an actor for the ages.

But the greatest of all time? There’s an unfortunate tendency to rank something like acting which by and large is very subjective. One person watching one of Brando’s films like On the Waterfront or Viva Zapata may feel like he is the greatest thing since slice bread. In the meantime somebody else views the same movies and Brando’s acting may do nothing for them. In fact they may not like it all.

The same goes for those schools of thought which declare Spencer Tracey, James Cagney or Lawrence Olivier as the best ever. Again that is subjective but what also complicates matters is their styles of acting are totally different from one another. Tracey’s was a more stripped down style while Cagney’s had that extra sense of bravado. As for Oliver he was working on a more classical bent. These are of course obvious generalities but the point is it’s hard to compare who is better when each actor is coming at it from their own point of view.

And that is one of the foundations of great acting. A performer looks to put his or her individual stamp on whichever part they play. Digging inside themselves to find the exact motivations to bring the character as well as the story to life. Technique is just a means to get there. Whether someone uses the Stanislavsky method, classical or just goes outside and stares at a tree is secondary. In the final analysis the question remains is it believable. And truth to tell it is hard to look at the body of work of two great actors and declare one’s performances more believable than the other. Indeed, Brando was a great actor. And he takes his rightful place alongside the other great actors of the movies.