SYNOPSICS
The Sandpiper (1965) is a English movie. Vincente Minnelli has directed this movie. Elizabeth Taylor,Richard Burton,Eva Marie Saint,Charles Bronson are the starring of this movie. It was released in 1965. The Sandpiper (1965) is considered one of the best Drama movie in India and around the world.
Twenty-something Laura Reynolds (Dame Elizabeth Taylor) is a free spirit who questions social conventions, laws, and regulations. A struggling artist, she lives in a secluded beach-side cabin in Big Sur with her nine-year-old illegitimate son, Danny (Morgan Mason), on who she has instilled her values. Because of this questioning of convention, Laura has decided to home school Danny. Also because of this questioning of the law, Danny runs into some legal problems, and as such is court ordered to be sent to San Simeon, a Christian school in Monterey, California. This order is against Laura's wishes. The school's headmaster is Dr. Reverend Edward Hewitt (Richard Burton), who tries to convince Laura that San Simeon is not the prison she probably believes it to be. Married for twenty-one years to his faithful wife Claire (Eva Marie Saint), Edward has become more a fund-raiser at all cost (for a new chapel) rather than an educator or Priest. Despite their differences, Laura and Edward begin...
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The Sandpiper (1965) Reviews
The Golden Couple of the Sixties
"The Sandpiper" was the second in a number of films ("The VIPs" was the first) made together by Richard Burton and Elizabeth Taylor. Their romance, which had begun on the set of "Cleopatra", had both enthralled and scandalised the public, and the studios wanted to make the most of their notoriety. The public perception of Dick and Liz as a glamorous but scandalous couple can only have been increased by the subject-matter of "The Sandpiper". At one time a film about a clergyman engaged in an adulterous affair would have been an unthinkable violation of the Production Code. By 1965, however, the Code, although not quite dead, was no longer in robust health, and a film on this subject, although still highly controversial, was no longer impossible. Taylor's character, Laura Reynolds, is an unmarried mother who works as an artist and lives with her nine-year-old son Danny in an isolated California beach house. (The film's title derives from an injured sandpiper which she rescues and nurses back to health thereafter and becomes a symbol of freedom). Danny's behaviour, however, has got him into trouble with the law, and a judge orders her to send the boy to a local boarding school. Laura is reluctant to do this; she is a free spirit who distrusts any form of institutionalised education. To make matters worse from her point of view, the school is run by the Episcopalian Church, and she is an atheist whose attitude to religion is one of positive hostility rather than mere indifference. Nevertheless, she realises that she must comply with the judge's order or risk losing custody of her boy. Burton plays Dr. Edward Hewitt, an Episcopalian priest and headmaster of the school. Although his values are very different from Laura's, Edward is something of an idealist and is becoming disillusioned with his life at the school, feeling that he is neither a priest nor an educator but merely a fund-raiser. (The school is currently engaged in a major fund-raising drive to build a new chapel, something Edward feels is unnecessary). Edward takes a great interest in Danny's progress and finds himself increasingly drawn towards Laura, possibly because she is so different both from him and from his wife Claire. Claire is attractive and supportive of her husband but rather staid and conventional compared to the bohemian Laura. Eventually Edward and Laura begin an affair, even though he is a married man. (This plot line reminded me of Iris Murdoch's novel "The Sandcastle", published a few years before "The Sandpiper", which also dealt with an adulterous affair between a married older schoolmaster at a boarding school and a young female artist). Danny himself does not play a major role, being more of a plot device than a character in his own right. I felt that this was a weakness, given that one of the themes of the film is two different philosophies of education. Laura's view is that all formal educational establishments, particularly conservative boarding schools like Dr Hewitt's, are undesirable because they exist in order to turn children into conventional conformists. Her own solution, however, home-schooling Danny in a remote part of the world away from any other children and without a father-figure in his life, struck me as being likely to turn him into a self-centred loner, although the film rather shies away from criticising Laura on this point. The opening scenes in which Danny shoots a deer strike a particularly jarring note. It seemed to me highly improbable that a woman like Laura, whose whole philosophy seems to be one of living in harmony with nature, would allow her young son to have a rifle and then, when he uses it to kill an animal out of wanton curiosity, shrug the whole thing off as a harmless youthful escapade. Elizabeth Taylor looks stunning, but neither she nor Burton are really at their best here. Burton is certainly not as good as he was as the world-weary spy in "The Spy Who Came in from the Cold", also made in 1965. The relationship between Edward and Laura is not based simply upon sexual attraction, but upon a growing realisation that despite their differences they are kindred spirits. The unbeliever Laura, paradoxically, has more in common with Edward's Christian idealism than does the conventionally pious Claire. The trouble is that one never really senses in Burton's performance the idealistic religious believer hiding behind the mask of the formal and pedantic schoolmaster. Taylor always comes across as slightly too glamorous to be altogether convincing as a proto-hippie. The film contains some attractive photography of the Californian coastal scenery (although the colours in the indoor scenes are often rather dull) and there is a notable musical score, including the song "The Shadow of Your Smile". As a psychological and emotional drama it has its points of interest, but overall it is a rather dated sixties period-piece, most interesting as a record of that decade's official Golden Couple. 6/10
Big Sur Shines in This Story of Illicit Love
"The Sandpiper" is not a great movie but it has a certain appeal and is graced by some beautiful seascapes along the rugged Big Sur coastline. The opening sequence, a montage of steep emerald hills and deep blue sea shot from a helicopter, is particularly well done, featuring a deer dashing up one of the oak-covered slopes, building swells breaking on the rocky shore, and one or two fiery red sunsets. Similar scenes continue to bolster the sense of setting throughout the movie. The storyline, although interesting, can't quite live up to the dramatic natural location. The love affair between Richard Burton, a jaded Episcopalian priest and headmaster at a boys school in San Simeon, and Elizabeth Taylor, an alienated artist seeking peace and solitude at an isolated beach house, is reasonably convincing. Yet the priest already has a comely wife in the form of Eva Marie Saint and his motivation for stepping outside their marriage isn't well explained, except that he wants to recapture the idealism of his youth. When a local judge orders that Taylor's troubled son must attend Burton's school, he is almost instantly attracted to her and apparently there is nothing to be done about it. Set in the mid-sixties, when sexual morays were loosening but we were still in the grip of a churchy moralism, this had to be a controversial film, and I vaguely recall that it was. You can visit the locations used in the movie because some are easily recognizable, such as the store/club/restaurant in Big Sur known as "Nepenthe." And of course, there are the famous stone bridges on Highway One spanning two or three of the rugged chasms. Coursing through the movie, especially during the several seascapes, is the theme "The Shadow of Your Smile." It's a nice movie, if not a great one, and worth seeing more than once.
Liz is sweet if not entirely convincing
Not only in "Cleopatra" but in her next two films as well, "The V.I.P.s," and "The Sandpiper," Taylor was more the world-famous celebrity and less the conscientious actress than at any other time in her career The three movies exploit the public's fantasy of what the lovers must be like: tempestuous, as in "Cleopatra;" quarreling, on the verge of separation, as in "The V.I.P.s;" illicit lovers, defying the moral norms, as in "The Sandpiper." As the ancient Queen of the Nile, as modern day grande dame, or as a hippie artist, Taylor is Taylor, hemmed in by her spectacular fame The international celebrity, the world's most famous lover, takes over from the burgeoning actress of the Fifties, and Taylor walks through the movies as the fabled beauty she'd become rather than the high-strung Southern belle she had been before Rome Playing an unmarried woman who lives with her son exactly the way she wants to live, in harmony with the California coast, Liz Taylor, for once, gets to talk about ideas: her character proclaims the joys of independence and self-expression Taylor is no Jane Fonda, alight with radical fervor, but the role does express something of herself; it lets us see a side of her that differs from the standard screen Taylor Here she's a 'new' woman, free and wise, who teaches a thing or two to a rigid churchman The film's symbol is the sandpiper with a broken wing which she offers as proof that every creature should be allowed to fly free We know too much about her to believe her as a hedonistic artist who would dress so fashionably in such an impossibly expansive beach house... The character's broad humanistic philosophyher objections to organized religion and to formal schooling, her advocacy of free love and her celebration of the naturalness of physical loveare, oddly enough, at the film's center The story that interrupts the characters ongoing declarations about life is the old number of a minister tempted by a beautiful woman Bombarded by the artist's charms, the man succumbs, only to depart at the end, weighed down by, guilt and vowing to seek the way of repentance and purification The movie's morality is thus a mingling of the old and the new The movie plays it both ways, admiring the woman's freedom and righteous self-justification, but making the clergyman pay dearly for his indulgence in forbidden fruit It's an old Hollywood romance trying to masquerade as a love story in the modern manner Burton's prude is impossible and he plays him in a harsh oratorical manner, as if he's deadening himself to the pain of it all, but Taylor's character almost approaches being a real rebel with ideas The movie exploits the public image of her as a challenger of conventions, but the role also gives her a chance to sound reasonably articulate about matters other than love Under Vincente Minnelli's graceful guidance, Liz is sweet if not entirely convincing
This is vintage 60's Hollywood fluff, but it's great fluff.
Ok, I admit it. I have a guilty affection for this film. It's silly and shallow, but it's got a great performance by Richard Burton, and a pretty good one by Elizabeth Taylor. It's also gorgeously filmed in Big Sur country, and has an evocative soundtrack. "The Sandpiper" was filmed at the height of the Burton/Taylor mania. Richard plays a minister who runs an exclusive boys academy, and Liz plays the free-thinking artist mother who's son (Morgan Mason, James Mason's son) does some deer hunting out of season. The boy is sentenced to Burton's school to be saved from his mother's beatnik influence, and as the boy settles into life at the boarding school, Liz falls in love with the married minister Burton. They have a torrid affair, afternoons along the surf, etc., until a jealous colleague of Burton's blows the whistle on the pair. Corny, but I still love the movie.
Dull, talky soap opera. The scenery and music are beautiful, though
This film was designed to take advantage of public curiosity about the recent marriage of Elizabeth Taylor and Richard Burton, who were kind of the Bragelina of the 1960's. Their star power were enough to make this picture a hit at the box office. Here, Taylor plays a free-spirited beatnik artist and single mother. She lives on the beach in a glamorous "shack" and makes a living as an artist while raising her son. Very touching. Her son, played by Morgan Mason, gets into trouble and winds up being sent to a religious boarding school. The school is run by the Reverend Richard Burton, along with his pretty and supportive but staid wife, Eva Marie Saint. Well, Burton is going through a mid-life crisis and it comes to fruition when he first meets Taylor and is taken by her heavy make-up and "look at my breasts" wardrobes. So he visits her home to help her keep tabs on her son's progress at school and meets some of her beatnik friends, including Charles Bronson, absurdly cast as a hippie sculptor. What happens then? Well, after taking forever to set up the story, Taylor and Burton fall in love and have an affair, to the surprise of no one. In the process, we are treated to the majestic Big Sur beaches and beautiful music, including the Oscar-winning theme song "The Shadow of Your Smile." In fact, the music and seascapes are more interesting than the story and characters, who just talk everything to death while the story drags on in predictable fashion. This would have been a better coffee table book than motion picture. My recommendation? Watch the opening credits and closing credits, which are by far the best parts of the movie.