Elizabeth Taylor

Dame Elizabeth Rosemond Taylor (February 27, 1932 – March 23, 2011) was a British and American actress. She began her career as a child actress in the early 1940s and was one of the most popular stars of classical Hollywood cinema in the 1950s. She then became the world's highest-paid movie star in the 1960s, remaining a well-known public figure for the rest of her life. In 1999, the American Film Institute ranked her seventh on its greatest female screen legends list.

Born in London to socially prominent American parents, Taylor moved with her family to Los Angeles in 1939 at the age of 7. She made her acting debut with a minor role in the Universal Pictures film There's One Born Every Minute (1942), but the studio ended her contract after a year. She was then signed by Metro-Goldwyn-Mayer and became a popular teen star after appearing in National Velvet (1944). She transitioned to mature roles in the 1950s, when she starred in the comedy Father of the Bride (1950) and received critical acclaim for her performance in the drama A Place in the Sun (1951). She starred in the historical adventure epic Ivanhoe (1952) with Robert Taylor and Joan Fontaine. Despite being one of MGM's most bankable stars, Taylor wished to end her career in the early 1950s. She resented the studio's control and disliked many of the films to which she was assigned.

She began receiving more enjoyable roles in the mid-1950s, beginning with the epic drama Giant (1956), and starred in several critically and commercially successful films in the following years. These included two film adaptations of plays by Tennessee Williams: Cat on a Hot Tin Roof (1958), and Suddenly, Last Summer (1959); Taylor won a Golden Globe for Best Actress for the latter. Although she disliked her role as a call girl in BUtterfield 8 (1960), her last film for MGM, she won the Academy Award for Best Actress for her performance. During the production of the film Cleopatra in 1961, Taylor and co-star Richard Burton began an extramarital affair, which caused a scandal. Despite public disapproval, they continued their relationship and were married in 1964. Dubbed "Liz and Dick" by the media, they starred in 11 films together, including The V.I.P.s (1963), The Sandpiper (1965), The Taming of the Shrew (1967), and Who's Afraid of Virginia Woolf? (1966). Taylor received the best reviews of her career for Woolf, winning her second Academy Award and several other awards for her performance. She and Burton divorced in 1974 but reconciled soon after, remarrying in 1975. The second marriage ended in divorce in 1976.

Taylor's acting career began to decline in the late 1960s, although she continued starring in films until the mid-1970s, after which she focused on supporting the career of her sixth husband, United States Senator John Warner. In the 1980s, she acted in her first substantial stage roles and in several television films and series. She became the second celebrity to launch a perfume brand after Sophia Loren. Taylor was one of the first celebrities to take part in HIV/AIDS activism. She co-founded the American Foundation for AIDS Research in 1985 and the Elizabeth Taylor AIDS Foundation in 1991. From the early 1990s until her death, she dedicated her time to philanthropy, for which she received several accolades, including the Presidential Citizens Medal in 2001.

Throughout her career, Taylor's personal life was the subject of constant media attention. She was married eight times to seven men, converted to Judaism, endured several serious illnesses, and led a jet set lifestyle, including assembling one of the most expensive private collections of jewelry in the world. After many years of ill health, Taylor died from congestive heart failure in 2011, at the age of 79.

Elizabeth Rosemond Taylor was born on 27 February 1932, at Heathwood, her family's home at 8 Wildwood Road in Hampstead Garden Suburb, northwest London, England. She received dual British–American citizenship at birth as her parents, art dealer Francis Lenn Taylor (1897–1968) and stage actress Sara Sothern (1895–1994), were United States citizens, both originally from Arkansas City, Kansas.

They had moved to London in 1929 and opened an art gallery on Bond Street; their first child, a son named Howard (died 2020), was born the same year. The family lived in London during Taylor's childhood. Their social circle included artists such as Augustus John and Laura Knight and politicians such as Colonel Victor Cazalet. Cazalet was Taylor's unofficial godfather and an important influence in her early life. She was enrolled in Byron House School, a Montessori school in Highgate, and was raised according to the teachings of Christian Science, the religion of her mother and Cazalet.

In early 1939, the Taylors decided to return to the United States due to fear of impending war in Europe. United States ambassador Joseph P. Kennedy contacted her father, urging him to return to the US with his family. Sara and the children left first in April 1939 aboard the ocean liner SS Manhattan and moved in with Taylor's maternal grandfather in Pasadena, California. Francis stayed behind to close the London gallery and joined them in December. In early 1940, he opened a new gallery in Los Angeles. After briefly living in Pacific Palisades, Los Angeles, with the Chapman family, the Taylor family settled in Beverly Hills, California, where the two children were enrolled in Hawthorne School.

In California, Taylor's mother was frequently told that her daughter should audition for films. Taylor's eyes in particular drew attention; they were blue, to the extent of appearing violet, and were rimmed by dark double eyelashes caused by a genetic mutation. Sara was initially opposed to Taylor appearing in films, but after the outbreak of war in Europe made return there unlikely, she began to view the film industry as a way of assimilating to American society. Francis Taylor's Beverly Hills gallery had gained clients from the film industry soon after opening, helped by the endorsement of gossip columnist Hedda Hopper, a friend of the Cazalets. Through a client and a school friend's father, Taylor auditioned for both Universal Pictures and Metro-Goldwyn-Mayer in early 1941. Both studios offered Taylor contracts, and Sara Taylor chose to accept Universal's offer.

Taylor began her contract in April 1941 and was cast in a small role in There's One Born Every Minute (1942). She did not receive other roles, and her contract was terminated after a year. Universal's casting director explained her dislike of Taylor, stating that "the kid has nothing ... her eyes are too old, she doesn't have the face of a child". Biographer Alexander Walker agrees that Taylor looked different from the child stars of the era, such as Shirley Temple and Judy Garland. Taylor later said that, "apparently, I used to frighten grown ups, because I was totally direct".

Taylor received another opportunity in late 1942, when her father's acquaintance, MGM producer Samuel Marx, arranged for her to audition for a minor role in Lassie Come Home (1943), which required a child actress with an English accent. After a trial contract of three months, she was given a standard seven-year contract in January 1943. Following Lassie, she appeared in minor uncredited roles in two other films set in England – Jane Eyre (1943) playing Helen Burns, and The White Cliffs of Dover (1944).

Taylor was cast in her first starring role at the age of 12, when she was chosen to play a girl who wants to compete as a jockey in the exclusively male Grand National in National Velvet. She later called it "the most exciting film" of her career. Since 1937, MGM had been looking for a suitable actress with a British accent and the ability to ride horses. They decided on Taylor at the recommendation of White Cliffs director Clarence Brown, who knew she had the necessary skills. At that time Taylor was deemed too short for the role, so filming was delayed several months in order for her to grow an inch or two. In the interim Taylor spent her time practicing her horseback riding.

In MGM's effort developing Taylor into a film star, they required her to wear braces to straighten her teeth, and had two of her baby teeth pulled out. The studio also wanted to dye her hair, change the shape of her eyebrows, and proposed that she use the screen name "Virginia", but Taylor and her parents refused.

National Velvet became a box-office success upon its release on Christmas 1944. Bosley Crowther of The New York Times stated that "her whole manner in this picture is one of refreshing grace", while James Agee of The Nation wrote that she "is rapturously beautiful... I hardly know or care whether she can act or not."

Taylor later stated that her childhood ended when she became a star, as MGM started to control every aspect of her life. She described the studio as a "big extended factory actory", where she was required to adhere to a strict daily schedule. Her days were spent attending school, and filming at the studio lot. In the evenings, Taylor took dancing and singing classes, and practiced the following day's scenes. Following the success of National Velvet, MGM gave Taylor a new seven-year contract with a weekly salary of $750. They cast her in a minor role in the third film of the Lassie series, Courage of Lassie (1946). MGM also published a book of Taylor's writings about her pet chipmunk, Nibbles and Me (1946), and had paper dolls and coloring books made in her likeness.

When Taylor turned 15 in 1947, MGM began to cultivate a more mature public image for her by organizing photo shoots and interviews that portrayed her as a "normal" teenager attending parties and going on dates. Film magazines and gossip columnists also began comparing her to older actresses such as Ava Gardner and Lana Turner. Life called her "Hollywood's most accomplished junior actress" for her two film roles that year. In the critically panned Cynthia (1947), Taylor portrayed a frail girl who defies her over-protective parents to go to the prom; in the period film Life with Father (1947), opposite William Powell and Irene Dunne, she portrayed the love interest of a stockbroker's son.