Who’s Afraid of Virginia Woolf? is known for a lot of things. On the very surface are the many quotable lines and big performances, which are both so fast paced that they arguably consume everything else at play in the story, such as the theme of attempting to grab power. The four principle characters all go for it at some point, with not all of them even being aware that they’re doing it. In the great tradition of classic American cinema, we get power in clothes, makeup, and boobs! Elizabeth Taylor is intentionally supposed to look older and dress casually, looking crotchety like she’s supposed to be, but also is extremely captivating, bringing an aura with how well her clothes fits her and how much character is in both the wardrobe and Taylor’s demeanor.
You are immediately hit with the intense loudness of the film. The two leads seem to be making a point to be as insufferable as possible and they frankly succeed. It is arguable if they are “realistic” due to just how unable they are to not throw out a deprecating quip. Those quips sure make the affair electrifying, but it adds a level of absurdity that probably is not desirable, like that they all want to be attention-grabbing to an audience. It is hard to see anyone as a real person, though one might feel the same way if they actually met someone like that in real life. There are few moments where we are supposed to feel for the two leads, but when they do the effect is jarring, especially when considering certain interpretations of the plot. They also seem to sometimes go for laughs, which maybe would work better on a stage, but not so much in this movie intended to be disturbing. “I am the Earth mother and you are all flops.”
The insults do serve the purpose of telling us a lot about the main couple. Martha, played by Elizabeth Taylor, often comes off as dead inside, with her behavior often driven by a desire to get focus or feeling, even from things that are really bad ideas. She even says she likes her husband’s anger. Taylor in turn seems to be making an effort to steal the scene every time she speaks. Her exaggerated and drawn out delivery, topped with repeating the same lines for emphasis is trying way too hard to get attention and to a degree numbs the audience to her performance. This works to compromise the character from reaching her full potential. Another problem with Martha is how she mostly only exists through the lens of her husband, with her behavior and backstory typically related to him in some way. This is most apparent when we’ll hear Martha speaking ill of her husband and we’re watching his reactions, showing that’s what is important.
Richard Burton as George does fall into some of the trappings that Taylor does, but includes some minor, but telling mannerisms that are quite fascinating. He also changes much more significantly than Martha. In the beginning, he almost comes off as a victim to Martha’s cruelty, though it later becomes apparent that’s not the case. Note how he also treats each character differently. Nick, played by George Segal, he seems to relate to and respect in some ways, but can also seem to play around with his emotions. Honey, played by Sandy Dennis, on the other hand is basically disregarded. Martha by contrast is never ignored by him. He often tries to project intelligence, unlike Martha.
The movie is characterized by a lot of very amusing stories about the characters’ pasts. For the sake of a tighter narrative, some probably should have been cut, especially considering how simple the ending is, in contrast to the “big” film. The stories do go to serve one theme of the movie, essentially wishing to constantly contort reality to what you would like it to be. Another consequence of this “telling stories” approach is that the picture becomes a bit predictable. You know you’re going to hear Martha say something about George, then George will about her. You also know how they’re going to deliver the information. Martha is brassy, while George acts like he’s sophisticated. The focal point of the film is the masculinity and other insecurities of George. One example of him failing to be what he wants is when he can’t get Martha to get the door or stop speaking ill of him. He might want to stay with her because despite Martha being very bombastic, she hasn’t left him. Martha often makes the men feel emasculated with her constant yelling and certain comments.
The cinematography filled with angles and consuming darkness work to make the house feel small and claustrophobic, more like a prison cell. Most of the movie lacking a score adds to this, as do the bits of quick editing, like when we sharp jump from the leads in the car to Honey humming and spinning in a circle. Another particular striking moment is Martha wandering around in the dark, with the camera keeping a large distance from her. The actors also sell how uncomfortable this situation is, even with the limitations. One such limitation is the simple fact that Taylor looks gorgeous and not that old, which takes away from the desired effect of her being past her prime. Burton also looks and is young, though is slightly more convincing as a middle-aged person. It’s even shown in the film that Taylor is desirable to others. Nick and Honey are audience surrogates in the beginning, before things get intense. Thus, the message may be that average people can end up how they do. In fact, Nick is not named in the film and “Honey” may just be a nickname.
SPOILERS
George appears willing to fight pointless battles just to keep Martha and others under his thumb. When George and Nick talk, especially outside, George appears to be trying to “win over” Nick, making him relate to him. His goal in this is unclear, but based on how empty his life is shown to be, perhaps he wants to keep himself busy or have a pawn to use against Martha? Earlier on, he argued with Nick about any random topic, probably to get him on edge for amusement, though you’d think this would make Nick like him less. Maybe the reason why is because things like Honey throwing up are embarrassing for Nick, so he feels a need to be accommodating to George, so as not to perform a social faux pa? The two men then have a nice enough conversation where they’re relating over their issues with their wives. For a time, Nick appears to get along with George.
A more likely theory is that while he does want to control others, George can’t resist insulting people he feels are beneath him due to his desire to have power. Based on his arguments with Martha, he clearly has basically no control. He probably feels especially threatened by Nick, so the young man doesn’t deserve respect as he thinks his work will lead to genes being rearranged, wherein “everyone will be like everyone else”. Perhaps he believes he is owed control over others as a man and doesn’t want to see a world where he is not afforded that? Thus, he says he is threatened. There’s one scene where he refuses to light Martha’s cigarettes, but says he will do things wherein he would be a heroic and level headed support to a woman. Another notable moment is when he’s embarrassed by Martha talking about times she had dominated over him. In turn, he feels a need to project confidence and do bold things because he can, like pretending to shoot Martha. Later, Martha insults Nick’s sexual performance, so she may have done the same with George.
When Nick and Honey are more receptive, they’re drinking. Such drinking is encouraged by George, possibly because it makes them more likely to do stupid things or at least just go along with him. One great moment is when we get a closeup on George’s hands as he fills Nick’s glass before the latter reveals personal information that will later be used against him. If his goal is to gain a sense of power, then more support will help his case. Admittedly, he’s not very good at this, with everyone scared of him by the end. In fact, if any new alliances were made, it would probably be between Honey and Martha. Honey gets taken more and more into what could be called the “fun part” of George and Martha, like when she yells “Violence!” and other quips. She probably likes that Martha is louder and more bold than what is expected of a woman, while Nick seems concerned about her not filling the expected womanly role in a marriage.
Another motif of the film is the battle between these women who both don’t have children and have a desire to be “dominating”, while the men are more submissive and are insecure about that. The messiness of the older couple’s house signifies Martha “failing” to be a housewife. Honey initially seems reserved, but is opened up by the events of the narrative. Honey seems to be blamed for stressing her marriage by not wanting children, as we get a large view of Nick’s distress over feeling forced to be with and accept her, as if that is something a woman just should do and you are not doing your womanly duty by not having them. Note how little Honey is delved into, like she’s just here for the others and thus her perspective shouldn’t be seriously considered. Martha’s sadness over not having children could be interpreted as the message of the film being that being childless devalues people, at least women. The scene of a lullaby-esque instrumental playing over Martha walking around and yelling for George plays into this, as if through it all she wants is to be in her relationship and without it she’s just aimless in life.
The ending seems like something intended for those that either would not understand the picture or want what could maybe be considered a happy ending. The revelation of the leads’ son being non-existent does not tell us much that we don’t already know, that these characters are empty and need something to fill their lives. That was already very evident based on their behavior. We have also already seen George’s desperation to do something that will really hurt Martha. Their son’s existence in the story only serves to be an “explanation” of why they’re so mean and also possibly to give some commentary that it is crushing to not be a parent, which might be a bit of a stretch or at least an outdated view.
While George lightly saying his son died represents the metaphorical death of their lie, the use of the term is clearly chosen for dramatic reasons, with Burton feeling like he is acting to a crowded theater, instead of like how a real person might say it. The acting is pushing so much to be dramatic. This ending perfectly describes why George has so few friends or support, he’s simply a very apparent nutter, though it’s hard to believe he hasn’t been kicked to the curb if he’s going to do things like this, at least from a “logical” point of view. However, right before we close out, George shows a bit of empathy for Martha, which according to some means he might become nicer. Far too little is done to suggest this and it would also be an unsatisfying ending due to how the character was written. His reforming is not strongly stated or implied, so it is easier to believe he hasn’t changed and is only pretending, so Martha can be hurt later.
This ending, that people like this essentially only survive by feeding off others, is more consistent and thought provoking than “Martha crying fixes their toxicity”, especially when considering that the two not distracting each other with attacks and the other’s presence would mean confronting their own insecurities. This is supported by scenes like Martha and George bonding by picking on Nick, calling him a houseboy. They clearly don’t know how to manage not playing mind games on another, at least with George. Otherwise, why would they stay together? Martha even says George makes her happy. Earlier outside the danceroom, Martha shows some awareness of their pathetic situation, same with when she says she is afraid of Virginia Woolf, representing her fear of facing reality. Thus, George here is really shown to have some level of control. Martha doesn’t have anything else to turn to. Even if she did make friends with Honey for a time, she and Nick leave at the end disgusted. No matter how manipulative George is, he seems constantly willing to put up with her, so she can metaphorically fight her demons through him. Still, even if George has power over her, he of course doesn’t have any real power, punctuated by how when he makes Martha cry at the end, everyone only listens because he’s basically forced them to, with Honey so drunk as to be out of tune with what’s going on. Yet, that all still may give him some personal satisfaction. The real edge of the film comes from the fact that while George and Martha may have succeeded in either having control and/or companionship, that’s basically doomed them based on their circumstances.
OVERVIEW
Despite how overly theatrical the dialogue and performances are, you can’t deny how interesting they are regardless. Part of the fun of this affair is wondering what’s being left unsaid, despite the fact that there are quite a few confessions that do tell us who’s thinking what. “Truth and illusion” is a line in the picture. Perhaps not taking the film at face value and instead as some sort of hyperbolic representation of its themes would make it work better? Still, Who’s Afraid of Virginia Woolf? does indeed answer the question in the title.
See for Richard Burton riding a swing and more importantly Elizabeth Taylor eating a chicken wing.
The Filme Diary 