| Richard Walter Jenkins 10 November 1925 Pontrhydyfen, Wales |
|
| Died | 5 August 1984 (aged 58) Céligny, Switzerland |
| Cause of death | Cerebral haemorrhage |
| Nationality | Welsh |
| Citizenship | United Kingdom |
| Occupation | Actor |
| Years active | 1943–1984 |
| Spouse(s) | Sybil Williams (m. 1949–1963, divorced) Elizabeth Taylor (m. 1964–1974; 1975–1976, divorced) Suzy Miller (m. 1976–1982, divorced) Sally Hay (m. 1983–1984; his death) |
| Children | Kate Burton Jessica Burton Liza Todd Burton Maria Burton |
| Richard Burton, CBE (/ˈbɜːrtən/; 10 November 1925 – 5 August 1984) was a Welsh stage and cinema actor[1] noted for his mellifluous baritone voice and his acting talent.[2][3] Establishing himself as a formidable Shakespearean actor in the 1950s, with a memorable performance of Hamlet in 1964, Burton was called "the natural successor to Olivier" by critic and dramaturg Kenneth Tynan. An alcoholic,[3] Burton's failure to live up to those expectations[4] disappointed critics and colleagues and fueled his legend as a great thespian wastrel.[3][5] Burton was nominated seven times for an Academy Award without ever winning. He was a recipient of BAFTA, Golden Globe and Tony Awards for Best Actor. In the mid-1960s Burton ascended into the ranks of the top box office stars,[6] and by the late 1960s was one of the highest-paid actors in the world, receiving fees of $1 million or more plus a share of the gross receipts.[7] Burton remains closely associated in the public consciousness with his second wife, actress Elizabeth Taylor. The couple's turbulent relationship was rarely out of the news.[8] Early life and educationChildhoodRichard Burton was born Richard Walter Jenkins, Jr. on 10 November 1925 in his house at 2 Dan-y-bont in Pontrhydyfen, a small village located in the county borough of Neath Port Talbot, Wales.[9][10] He was the twelfth of thirteen children born to his father, Richard Walter Jenkins Sr. (1876-1957), and his mother, Edith Maude Jenkins (née Thomas; 1883-1927).[11] Jenkins Sr., called Daddy Ni by the family, was a coal-miner while his mother worked as a bartender at a pub called the Miner's Arms, which was also the place where she met and married her husband.[12] According to biographer Melvyn Bragg, Richard is quoted saying that Daddy Ni was "twelve-pints-a-day man" who sometimes went off on drinking and gambling sprees for weeks, and that "he looked very much like me".[13] He remembered his mother to be "a very strong woman" and "a religious soul with fair hair and a beautiful face".[14]
The Miner's Arms at Pontrhydyfen where Richard Burton's parents met and married.
Richard remained forever grateful and loving to Cis throughout his life, later going on to say "When my mother died she, my sister, had become my mother, and more mother to me than any mother could ever have been ... I was immensely proud of her ... she felt all tragedies except her own". Daddy Ni would occasionally visit the homes of his grown daughters but was otherwise absent.[19] Another important figure in Richard's early life was Ifor, his brother, 19 years his senior. A miner and rugby union player, Ifor "ruled the household with the proverbial firm hand". He was also responsible for nurturing in young Richard a passion for Rugby.[20] Although Richard also played cricket, tennis and table tennis, biographer Bragg notes rugby union football to be his greatest interest. On rugby, Richard said he "would rather have played for Wales at Cardiff Arms Park than Hamlet at The Old Vic."[21] The Welsh rugby union centre, Bleddyn Williams believed Richard "had distinct possibilities as a player".[22] From the age of five to eight, Richard had his education at the Eastern Primary School while he attended the Boys' segment of the same school from eight to twelve years old.[23][24] He took a scholarship exam for admission into Port Talbot Secondary School in March 1937 and passed it.[25] Biographer Hollis Alpert notes that both Daddy Ni and Ifor considered Richard's education to be "of paramount importance" and planned to send him to the University of Oxford.[26] Richard became the first member of his family to go to secondary school.[27] He displayed an excellent speaking and singing voice since childhood, even winning an eisteddfod prize as a boy soprano.[23] During his tenure at Port Talbot Secondary School,[a] Richard also showed immense interest in reading poetry as well as English and Welsh literature.[24][28] He earned pocket money by running messages, hauling horse manure, and delivering newspapers.[29] The Philip Burton yearsBolstered by his winning of the eisteddfod prize, Richard wanted to repeat the success. He chose to sing Sir Arthur Sullivan's "Orpheus with his Lute" (1866), which biographer Alpert thought "a difficult composition". He requested the help of his schoolmaster, Philip Burton,[b] but his voice cracked during their practice sessions. This incident marked the beginning of his association with Philip.[31] Philip later recalled, "His voice was tough to begin with but with constant practice it became memorably beautiful."[32] Richard made his first foray into theatre with a minor role in his school's production of the Irish playwright George Bernard Shaw's The Apple Cart. He decided to leave school by the end of 1941 and work at as a miner as Elfed wasn't fit for work due to illness. He worked for the local wartime Co-operative committee, handing out supplies in exchange for coupons. He also simultaneously considered other professions for his future, including boxing, religion and singing. It was also during this period that Richard took up smoking and drinking despite being underage.[33]
One day in 1964, when Richard [Burton] was playing in Hamlet
on Broadway, he and I were interviewed jointly in a private corner of an
Eighth Avenue bar and restaurant much frequented by theatre people. We
had a live audience of one, Richard's wife, Elizabeth Taylor. One of the
questions aimed at me was, "How did you come to adopt him?" [...]
Richard jumped in with "He didn't adopt me; I adopted him." There was
much truth in that. He needed me, and, as I realised later, he set out
to get me.
In autumn of 1943, Philip planned to adopt Richard, but was not able to do so as he was 20 days too young to be 21 years older than his ward, a legal requirement. As a result, Richard became Philip's legal ward and changed his surname to "Richard Burton", after Philip's own surname, by means of deed poll, which Richard's father accepted.[37][42] It was also in 1943 that Richard qualified for admission into a University after excelling in the School Certificate Examination. Philip requested Richard to study at Exeter College, Oxford as a part of a six-month scholarship program offered by the RAF for qualified cadets prior to active service.[43] CareerEarly career and service in the RAF (1943–1947)In 1943, Burton played Professor Henry Higgins in a school production of another Shaw play directed by Philip, Pygmalion. The role won him favourable reviews and caught the attention of the dramatist, Emlyn Williams, who offered Burton a small role of the lead character's elder brother, Glan, in his play The Druid's Rest.[44] The play debuted at the Royal Court Theatre, Liverpool on 22 November 1943 and later premiered in St Martin's Theatre, London in January 1944. Burton thought the role was "a nothing part" and that he "hardly spoke at all". He was paid ten pounds a week for playing the role, which was "three times what the miners got."[45] Alpert states that the play garnered mixed reviews from critic, but James Redfern of the New Statesman took notice of Burton's performance and wrote "In a wretched part, Richard Burton showed exceptional ability." Burton noted that single sentence from Redfern changed his life.[46]During his tenure at Exeter college, Burton featured as "the complicated sex-driven puritan" Angelo in the Oxford University Dramatic Society's 1944 production of William Shakespeare's Measure for Measure.[e] The play was directed by Burton's English literature professor, Nevill Coghill, and was performed at the college in the presence of an audience of West End theatre luminaries such as John Gielgud, Terence Rattigan and Binkie Beaumont. On Burton's performance, fellow actor and friend, Robert Hardy recalled, "There were moments when he totally commanded the audience by this stillness. And the voice which would sing like a violin and with a bass that could shake the floor." Gielgud appreciated Burton's performance and Beaumont, who knew about Burton's work in The Druid's Rest, suggested that he "look him up" after completing his service in the RAF if he still wanted to pursue acting as a profession.[48] In late 1944, Burton successfully completed his six-month scholarship at Exeter college, Oxford, and went to the RAF classification examinations held in Torquay to train as a pilot. He was disqualified for pilot training due to his eyesight being below par, and was classified as a navigator trainee.[49] He served the RAF as a navigator for three years,[50] during which he performed an assignment as Aircraftman 1st Class in an RAF Hospital based in Wiltshire.[51] Burton's habits of drinking and smoking increased during this period; he was involved in a brief casual affair with actress Eleanor Summerfield.[52][f] Burton was cast in an uncredited and unnamed role of a bombing officer by BBC Third Programme in a 1946 radio adaptation of In Parenthesis, an epic poem of the First World War by David Jones.[53][55][g] Burton was discharged from the RAF on 16 December 1947.[50] Rise through the ranks and film debut (1948–1951)
Burton's house in Hampstead where he lived with Sybil from 1949 to 1956
While touring with the cast and crew members of Wynyard Browne's Dark Summer, Burton was called by Emlyn Williams for a screen test in his film, The Last Days of Dolwyn (1949).[61] Burton performed the screen test for the role of Gareth, which Williams wrote especially for him, and was subsequently selected when Williams sent him a telegram which quoted a line from The Corn Is Green — "You have won the scholarship". This led to Burton making his mainstream film debut.[61] Filming took place during the summer and early autumn months of 1948. It was on the sets of this film where Burton was introduced by Williams to Sybil Williams, whom he married on 5 February 1949 at a register office in Kensington.[62] The Last Days of Dolwyn opened to generally positive reviews from critics. Burton was praised for his "acting fire, manly bearing and good looks."[63] Film critic Philip French of The Guardian called it an "impressive movie debut" from Burton.[64] After marrying Sybil, Burton moved to his new address in 6 Lyndhurst Road, Hampstead NW3. He lived there from 1949 to 1956.[65] Pleased with the feedback Burton received for his performance in The Last Days of Dolwyn, the film's co-producer Alexander Korda offered him a contract at a stipend of £100 a week, which he signed. The contract enabled Korda to lend Burton to films produced by other companies.[66] Throughout the late 40s and early 50s, Burton acted in small parts in various British films such as Now Barabbas (1949) with Richard Greene and Kathleen Harrison, The Woman with No Name (1950) opposite Phyllis Calvert, Waterfront (1950) with Kathleen Harrison again; he had a bigger part as Robert Hammond, a spy for a newspaper editor in Green Grow the Rushes (1951) alongside Honor Blackman.[67] His performance in Now Barabbas received positive feedback from critics. C. A. Lejeune of The Observer believed Burton had "all the qualities of a leading man that the British film industry badly needs at this juncture: youth, good looks, a photogenic face, obviously alert intelligence and a trick of getting the maximum effort with the minimum of fuss."[68] For The Woman With No Name, a critic from The New York Times thought Burton "merely adequate" in his role of the Norwegian aviator, Nick Chamerd.[67][69] Biographer Bragg states the reviews for Burton's performance in Waterfront were "not bad", and that Green Grow the Rushes was a box office bomb.[68]
He was marvellous at rehearsals. There was the true theatrical
instinct. You only had to indicate — scarcely even that. He would get
and never changed it.
Gielgud (Photographed by Allan Warren in 1973) gave Burton his career breakthrough with The Lady's Not For Burning (1949)
Burton went on to feature in two more plays by Fry — The Boy With A Cart and A Phoenix Too Frequent. The former opened at the Lyric Theatre, Hammersmith in February 1950 while the latter premiered at the Dolphin Theatre, Brighton the following month.[84] Gielgud, who also directed The Boy With A Cart, said about Richard's role as a boy named Cuthman who hears a mysterious call to build a church and travels with his mother in a cart for the right place to do so, that "It was one of the most beautiful performances" he had ever seen.[85] During its month-long run, Anthony Quayle, who was on the lookout for a young actor to star as Prince Hal in his adaptations of Henry IV, Part I and Henry IV, Part 2 as a part of the Shakespeare Memorial Theatre season for the Festival of Britain, came to see the play and as soon as he beheld Burton, he found his man and got his agreement to play the parts.[86] Both plays opened in 1951 at the Shakespeare Memorial Theatre in Stratford-upon-Avon to mixed reviews, but Burton received acclaim for his role as Prince Hal. Many critics dubbed him "the next Laurence Olivier".[87] Theatre critic and dramaturge, Kenneth Tynan said of his performance, "His playing of Prince Hal turned interested speculation to awe almost as soon as he started to speak; in the first intermission local critics stood agape in the lobbies."[88] He was also praised by Humphrey Bogart and his wife Lauren Bacall after both witnessed the play. Bacall later said of him: "He was just marvellous [...] Bogie loved him. We all did."[88] Burton celebrated his success by buying his first car, a Standard Flying Fourteen and enjoyed a drink with Bogart at a pub called The Dirty Duck.[89] Philip too was happy with the progress his ward made and that he felt "proud, humble, and awed by god's mysterious ways".[90] Burton went on to do Henry V as the titular character, and played Ferdinand in The Tempest as a part of the Shakespeare Memorial Theatre season as well. Both roles didn't go too well with critics, with a reviewer saying "he lacked inches" as Henry V. Olivier defended Burton by retaliating that he too received the same kind of review by the same critic for the same role.[91] His last play in 1951 was as a musician named Orphée in Jean Anouilh's Eurydice opposite Dorothy McGuire and fellow Welsh actor Hugh Griffith. The play, retitled as Legend of Lovers, opened in the Plymouth Theatre, New York City and ran only for a week, but critics were kind to Burton, with Bob Francis of Billboard magazine finding him "excellent as the self-tortured young accordionist".[92][93] Hollywood and The Old Vic (1952–1954)Burton began 1952 by starring alongside Noel Willman in the title role of Emmanuel Roblès adventure Montserrat, which opened on 8 April at the Lyric Hammersmith. The play only ran for six weeks but Burton once again won praises from critics. According to Bragg, some of the critics who watched the performance considered it to be Burton's "most convincing role" till then.[94] Tynan lauded Burton's role of Captain Montserrat, noting that he played it "with a variousness which is amazing when you consider that it is really little more than a protracted exposition of smouldering dismay."[95]
Burton with Olivia de Havilland in My Cousin Rachel (1952)
As the Roman military tribune Marcellus Gallio in The Robe (1953)
Burton's second and final film of the year was in the Biblical epic historical drama, The Robe, notable for being the first ever motion picture to be made in CinemaScope.[114][l] He replaced Tyrone Power, who was originally cast in the role of Marcellus Gallio, a noble but decadent Roman military tribune in command of the detachment of Roman soldiers that were involved in crucifying Jesus Christ. Haunted by nightmares of the crucifixion, he is eventually led to his own conversion. Marcellus' Greek slave Demetrius (played by Victor Mature) guides him as a spiritual teacher, and his wife Diana (played by Jean Simmons) follows his lead. The film set a trend for Biblical epics such as Ben-Hur (1959).[108] Based on Lloyd C. Douglas' 1942 historical novel of the same name, The Robe was well received at the time of its release, but contemporary reviews have been less favourable.[116][117] The magazine Variety termed the performances of the lead cast "effective" and complemented the fight sequences between Burton and Jeff Morrow.[118] Crowther believed that Burton was "stalwart, spirited and stern" as Marcellus.[119] Among those who gave negative reviews were Jonathan Rosenbaum of the Chicago Reader who called The Robe a "pious claptrap",[120] and Dennis Schwartz of Ozus' World Movie Reviews who wrote, "Burton is served a death sentence to be in such a turgid film, one that ranges from being creaky to silly to just plain vulgar."[121] The film was a commercial success, grossing $17 million against a $5 million budget, and Burton received his second Best Actor nomination at the 26th Academy Awards.[102][122]
She was so extraordinarily beautiful that I nearly laughed out loud
[...] She was undeniably gorgeous [...] She was lavish. She was a dark
unyielding largesse. She was, in short, too bloody much, and not only
that, she was totally ignoring me.
At a party held in Simmons' residence in Bel Air, Los Angeles to celebrate the success of The Robe, Burton met Elizabeth Taylor for the first time in his life. Taylor, who at the time was married to actor Michael Wilding and was pregnant with their first child, recalled her first impression of Burton being "rather full of himself. I seem to remember that he never stopped talking, and I had given him the cold fish eye."[128] Hamlet was a challenge that both terrified and attracted him, as it was a role many of his peers in the British theatre had undertaken, including Gielgud and Olivier.[129] He shared his anxiety with de Havilland whilst coming to terms with her. Bogart too, didn't make it easy for him when he retorted: "I never knew a man who played Hamlet who didn't die broke."[130] 
The Old Vic (photographed in 2012), where Burton rose to fame as a Shakespearean actor
The other roles he essayed for the season were Sir Toby Belch in Twelfth Night, Caliban in The Tempest and Philip of Cognac in King John.[140] All five of Burton's plays were directed by Benthall; three of those plays featured Bloom.[84] While Belch was considered "disappointing" due to Burton not putting on the proper make-up for the part, his reviews for Caliban and Philip of Cognac were positive.[141] Alpert believed Burton's presence made the 1953–54 season of The Old Vic a commercial success.[135] Burton was an ardent admirer of poet Dylan Thomas since his boyhood days. On the poet's death on 9 November 1953, he wrote an essay about him and took the time to do a 1954 BBC Radio play on one of his final works, Under Milk Wood, where he voiced the First Voice in an all-Welsh cast.[142][143] The entire cast of the radio play, including Burton, did their roles free of charge.[142] Burton reprised his role in the play's 1972 film adaptation with Taylor.[67][143] Burton was also involved in narrating Lindsay Anderson's short documentary film about The Royal School for the Deaf in Margate, Thursday's Children (1954).[144] Setback in films and on-stage fame (1955–1959)
With Maggie McNamara in Prince of Players (1955)
Shortly after the release of Prince of Players, Burton met director Robert Rossen, who was well-known at the time for his Academy Award winning film, All the King's Men (1949). Rossen planned to cast Burton in Alexander the Great (1956) as the eponymous character. Burton accepted Rossen's offer after the director reassured him he had been studying the Macedonian king for two years to make sure the film was historically accurate. Burton was loaned by Fox to the film's production company United Artists, which paid Burton a fee of $100,000. Alexander the Great was made mostly in Spain during February 1955 and July 1955 on a budget of $6 million. The film reunited Burton with Bloom and it was also the first film he made with her. Bloom played the role of Barsine, the daughter of Artabazos II of Phrygia, and one of Alexander's three wives. Fredric March, Danielle Darrieux, Stanley Baker, Michael Hordern and William Squire were respectively cast as Philip II of Macedon, Olympias, Attalus, Demosthenes and Aeschines.[150] 
With Claire Bloom in Alexander the Great (1956)
Burton returned to The Old Vic to perform Henry V for a second time. The Benthall-directed production opened in December 1955 to glowing reviews and was a much-needed triumph for Burton.[159] Tynan made it official by famously saying Burton was now "the next successor to Olivier".[160] The reviewer from The Times began by pointing out the deficiencies in Burton's previous rendition of the character in 1951 before stating as quoted in Bragg's biography of Burton: "Mr. Burton's progress as an actor is such that already he is able to make good all the lacks of a few short years ago ... what was greatly metallic has been transformed into a steely strength which becomes the martial ring and hard brilliance of the patriotic verse. There now appears a romantic sense of a high kingly mission and the clear cognisance of the capacity to fulfil it ... the whole performance — a mostly satisfying one — is firmly under the control of the imagination."[161]In January 1956, the free daily newspaper, London Evening Standard honoured Burton by presenting to him its Theatre Award for Best Actor for his portrayal of Henry V.[162] His success in and as Henry V led him to be called the "Welsh Wizard".[163] Henry V was followed by Benthall's adaptation of Othello in February 1956, where he alternated on successive openings between the roles of Othello and Iago with John Neville. As Othello, Burton received both praise for his dynamism and criticism with being less poetical with his dialogues, while he was acclaimed as Iago.[164] His stay at The Old Vic was cut short when he was approached by the Italian neorealist director Roberto Rossellini for Fox's Sea Wife (1957), a drama set in World War II about a nun and three men marooned on an island after the ship they travel on is torpedoed by a U-boat. Joan Collins, who played the nun, was his co-star. Burton's role was that of an RAF officer who develops romantic feelings for the nun.[157] Rossellini was informed by Zanuck not to have any kissing scenes between Burton and Collins, which Rossellini found unnatural; this led to him walking out of the film and being replaced by Bob McNaught, one of the executive producers.[165][166] According to Collins, Burton had a "take-the-money-and-run attitude" toward the film.[167] Sea Wife was not a successful venture, with biographer Munn observing that his salary was the only positive feature that came from the film.[168] Philip saw it and said he was "ashamed" that it added another insult to injury in Burton's career.[169] 
With Yvonne Furneaux in Wuthering Heights (1958)
In 1958, Burton appeared with Yvonne Furneaux in DuPont Show of the Month's 90-minute television adaptation of Emily Brontë's classic novel Wuthering Heights as Heathcliff.[178] The film, directed by Daniel Petrie,[179] aired on 9 May 1958 on CBS with Burton garnering plaudits from both the critics and Philip, who thought he was "magnificent" in it.[180][181] Burton next featured as Jimmy Porter, "an angry young man" role, in the film version of John Osborne's play Look Back in Anger (1959), a gritty drama about middle-class life in the British Midlands, directed by Tony Richardson, again with Claire Bloom as co-star. Biographer Bragg observed that Look Back in Anger "had defined a generation, provided a watershed in Britain's view of itself and brought [Osborne] into the public prints as a controversial, dangerous figure."[182] Burton was able to identify himself with Porter, finding it "fascinating to find a man who came presumably from my sort of class, who actually could talk the way I would like to talk."[183] The film and Burton's performance received mixed reviews upon release.[184] Biographer Alpert noted that though reviews in the UK were favourable, those in the United States were more negative.[185] Crowther wrote of Burton: "His tirades are eloquent but tiring, his breast beatings are dramatic but dull and his occasional lapses into sadness are pathetic but endurable."[186] Both Geoff Andrew of Time Out magazine and Schwartz felt Burton was too old for the part,[187][188] and the Variety reviewer thought "the role gives him little opportunity for variety."[189] Contemporary reviews for the film have been better and it has a rating of 89% on the review aggregator website Rotten Tomatoes.[190] Look Back in Anger is now considered one of the defining films of the British New Wave cinema, a movement from the late 1950s to the late 1960s in which working-class characters became the focus of the film and conflict of social classes a central theme.[191] Jimmy Porter is also considered as one of Burton's best on-screen roles;[192] he was nominated in the Best Actor categories at the BAFTA and Golden Globe Awards but lost to Peter Sellers for I'm All Right Jack (1959) and Anthony Franciosa for Career (1959) respectively.[193][194] Though it didn't do well commercially, Burton was proud of the effort and wrote to Philip, "I promise you that there isn't a shred of self-pity in my performance. I am for the first time ever looking forward to seeing a film in which I play".[195] While filming Look Back in Anger, Burton did another play for BBC Radio, participating in two versions, one in Welsh and another in English, of Welsh poet Saunders Lewis' Brad, which was about the 20 July plot. Burton voiced one of the conspirators, Caesar von Hofacker.[196] Broadway triumphs and success with Elizabeth Taylor (1960–1969)
Burton and Julie Andrews in Broadway's presentation of Camelot
Burton made a triumphant return to the stage with Moss Hart's 1960 Broadway production of Camelot as King Arthur.[202] The play, written by Alan Jay Lerner and Frederick Loewe, had Julie Andrews fresh from her triumph in My Fair Lady playing Guinevere, and Robert Goulet as Lancelot completing the love triangle.[203] Roddy McDowall played the villainous Mordred.[204] Hart first came up with the proposal to Burton after learning from Lerner about his ability to sing. Burton consulted Olivier on whether he should take the role, which came with a stipend of $4,000 a week. Olivier pointed out his salary was good and that he can carry on with accepting the offer.[185] The production was troubled, with both Loewe and Hart falling ill and the pressure building up due to great expectations and huge advance sales. The show's running time was nearly five hours. Burton's intense preparation and competitive desire to succeed served him well.[205] He immediately drafted Philip, who revised the musical's script and cut its running time to three hours while also incorporating three new songs.[206] Burton was generous and supportive to everyone throughout the production and coached the understudies himself. According to Lerner, "he kept the boat from rocking, and Camelot might never have reached New York if it hadn't been for him."[205] Burton's reviews were excellent, with the critic from Time magazine observing that Richard "gives Arthur the skilful and vastly appealing performance that might be expected from one of England's finest young actors."[207] Broadway theatre reviewer Walter Kerr noted Richard's syllables, "sing, the account of his wrestling the stone from the sword becomes a bravura passage of house-hushing brilliance" and complemented his duets with Andrews, finding Burton's rendition to possess "a sly and fretful and mocking accent to take care of the humor [sic] without destroying the man."[207] 
In The Longest Day (1962)
As Mark Antony in Cleopatra (1963), with Elizabeth Taylor as the titular character
Cleopatra finally released on 11 June 1963 with a runtime of 243 minutes to polarising reviews.[221][229][q] The Time magazine critic found the film, "raddled with flaws, [lacking] style both in image and in action." and that Burton "staggers around looking ghastly and spouting irrelevance".[221][231] In a contradictory review, Crowther termed the film "generally brilliant, moving, and satisfying" and thought Burton was "exciting as the arrogant Antony".[232] Richard Brody of The New Yorker commented positively on the chemistry between Burton and Taylor, describing it as "entrancing in the movie’s drama as it was in life."[233] Cleopatra grossed over $26 million, becoming one of the highest-grossing films of 1963.[221] It was not enough to prevent Fox from entering bankruptcy. The studio sued Burton and Taylor for allegedly damaging the film's prospects at the box office with their behaviour, but it proved unsuccessful.[234] Cleopatra was nominated for nine Academy Awards, winning for Best Production Design, Best Costume Design and Best Visual Effects.[235] The film marked the beginning of a series of collaborations with Taylor, in addition to making Burton one of the Top 10 box office draws until 1967.[236] Burton played Taylor's tycoon husband Paul Andros in Anthony Asquith's The V.I.P.s (1963), an ensemble cast film described by Alpert as a "kind of Grand Hotel story" that was set in the VIP lounge of London Heathrow Airport;[237] it proved to be a box-office hit despite mixed reviews.[238] It was after The V.I.P.s that Burton became considerably more selective about his roles crediting Taylor for it as he simply acted in films "to get rich" and that she "made me see what kind of rubbish I was doing."[239] Burton and Taylor divorced their spouses in April 1963 after completing The V.I.P.s; Taylor subsequently took a two-year hiatus from films until her next venture with Burton, The Sandpiper (1965).[3][240] The supercouple, now dubbed "Liz and Dick" by the press, continued starring together in films in the mid-1960s, earning a combined $88 million over the next decade and spending $65 million of them.[241] Regarding their earnings, Burton, in a 1976 interview with Lester David and Jhan Robbins of The Ledger, stated that "they say we generate more business activity than one of the smaller African nations" and that the couple "often outspent" the Greek business tycoon Aristotle Onassis.[242] In 1964, Burton portrayed Thomas Becket, the Archbishop of Canterbury who was martyred by Henry II of England, in the film adaptation of Jean Anouilh's historical play Becket. Both Alpert and historian Alex von Tunzelmann noted Burton gave an effective, restrained performance, contrasting with co-actor and friend Peter O'Toole's manic portrayal of Henry.[243][244] Burton requested the film's director, Peter Glenville, not to oust him out of the project like he had previously done so for Adventure Story before accepting the role of Becket.[244][245] Writing for The Christian Science Monitor, Peter Rainer labelled Burton as "extraordinary".[246] Kenneth Turan of the Los Angeles Times appreciated Burton's on-screen chemistry with O'Toole and thought his portrayal of Becket served as "a reminder of how fine an actor Burton was".[247] The film received twelve Oscar nominations, including Best Actor for both Burton and O'Toole; they lost to Harrison for My Fair Lady (1964).[248] Burton and O'Toole also received nominations for Best Actor – Motion Picture Drama at the 22nd Golden Globe Awards, with O'Toole emerging victorious.[249] Burton's triumph at the box office continued with his next appearance as the defrocked clergyman Dr. T. Lawrence Shannon in Tennessee Williams' The Night of the Iguana (1964) directed by John Huston; the film was also critically well received.[250][251] Alpert believed Burton's success was due to how well he varied his acting with the three female characters, each of whom he tries to seduce differently: Ava Gardner (the randy hotel owner), Sue Lyon (the nubile American tourist), and Deborah Kerr (the poor, repressed artist).[211] The success of Becket and The Night of the Iguana led Time magazine to term him "the new Mr. Box Office".[252] 
Burton's portrayal of Hamlet was well received by critics, who thought it to be of a "bold and virile" nature
When the play debuted at the Lunt-Fontanne Theatre in New York City, Burton garnered good reviews for his portrayal of a "bold and virile" Hamlet.[258] Howard Taubman of The New York Times called it "a performance of electrical power and sweeping virility." and that he had never known or seen "a Hamlet of such tempestuous manliness."[259] A critic from Time magazine said that Burton "put his passion into Hamlet's language rather than the character. His acting is a technician's marvel. His voice has gem-cutting precision."[260] Walter Kerr felt that though Burton carried "a certain lack of feeling" in his performance, he appreciated Burton's "reverberating" vocal projections.[260] The opening night party was a lavish affair, attended by six hundred celebrities.[261] The play ran for 137 performances, beating the previous record set by Gielgud himself in 1936.[s] The most successful aspect of the production apart from Burton's performance was generally considered to be Hume Cronyn's performance as Polonius, winning Cronyn the only Tony Award he would ever receive in a competitive category. Burton himself was nominated for his second Tony Award for Best Actor in a Play but lost to Alec Guinness for his portrayal of the poet Dylan Thomas.[262][265] The performance was immortalised in a film that was created by recording three live performances on camera from 30 June 1964 to 1 July 1964 using a process called Electronovision;[266] it played in US theatres for a week in 1964.[267] The play was also the subject of books written by cast members William Redfield and Richard L. Sterne.[268]
He had a theory that Hamlet could be played a hundred ways, and he
tested every one of them. Within one scene, you might get Heathcliff,
Sir Toby Belch, and Peck's Bad Boy.
After Hamlet came to a close in August 1964, Burton and Taylor continued making films together. The first film after their marriage, The Sandpiper, was poorly received but still became a commercially successful venture.[275] According to Bragg, the films they made during the mid-1960s contained a lot of innuendos that referred directly to their private lives.[276] Burton went on to star opposite Claire Bloom and Oskar Werner in The Spy Who Came in from the Cold (1965), a Cold War espionage about a British Intelligence agent Alec Leamas (Burton), who is sent to East Germany on a mission to find an expose a mole working within his organisation for an East German Intelligence officer, Hans-Dieter Mundt (Peter van Eyck). Martin Ritt, the film's director and producer, wanted Burton's character to exhibit more anonymity, which meant no display of eloquent speeches or intense emotional moments.[277][278] Bragg believed this decision caused worry for Burton, as he had generated his reputation as an actor with those exact traits, and wondered how the film's results would turn out.[279] Ritt, a non-drinker, was displeased with Burton's drinking habits as he felt it "lacked a certain discipline" and expected the same level of commitment from him as everyone else during filming.[280] In spite of their differences, Alpert notes that the film transpired well.[281] Based on the 1963 novel of the same name by John le Carré, The Spy Who Came in from the Cold garnered positive reviews,[278] with Fernando F. Croce of Slant Magazine describing Burton's performance as more of "tragic patsy than swashbuckler" and believed his scenes with Werner "have sharp doses of suspicion, cynicism and sadness."[282] Dave Kehr from the Chicago Reader called the film "Grim, monotonous, and rather facile", he found Burton's role to possess "some honest poingnancy".[283] The reviewer from Variety thought Burton fitted "neatly into the role of the apparently burned out British agent".[284] Burton also made a brief appearance the same year in Clive Donner's comedy What's New Pussycat? as a man who meets the womaniser Michael James (O'Toole) in a bar.[285] 
Burton with Elizabeth Taylor as the bitter erudite couple, George and Martha, in Who's Afraid of Virginia Woolf? (1966)
The film's script, adapted from Albee's play by Ernest Lehman, broke new ground for its raw language and harsh depiction of marriage.[293] So immersed had the Burtons become in the roles of George and Martha over the months of shooting that, after it was wrapped up, he and Taylor found it difficult not to be George and Martha, "I feel rather lost."[294] Later the couple would state that the film took its toll on their relationship, and that Taylor was "tired of playing Martha" in real life.[295] Who's Afraid of Virginia Woolf? garnered critical acclaim, with film critic Stanley Kauffmann of The New York Times calling it "one of the most scathingly honest American films ever made." Kaufman observed Burton to be "utterly convincing as a man with a great lake of nausea in him, on which he sails with regret and compulsive amusement." and Taylor "does the best work of her career, sustained and urgent."[296] In her review for The New York Daily News, Kate Cameron thought Taylor "nothing less than brilliant as the shrewish, slovenly. blasphemous, frustrated, slightly wacky, alcoholic wife" while noting that the film gave Burton "a chance to display his disciplined art in the role of the victim of a wife’s vituperative tongue."[297] Andrew Sarris of The Village Voice however criticised Taylor, believing her performance "lack genuine warmth" but his review of Burton was more favourable, noting that he gave "a performance of electrifying charm."[298] Although all four actors received Academy Award nominations for their roles in the film, which received a total of thirteen nominations, only Taylor and Dennis went on to win.[299] Both Burton and Taylor won their first BAFTA Awards for Best British Actor and Best British Actress respectively; the former also for his role in The Spy Who Came in from the Cold.[300] Burton and Taylor next performed a 1966 Oxford Playhouse adaptation of Christopher Marlowe's Doctor Faustus; the couple did the play to benefit the Oxford University Dramatic Society and as a token of Burton's gratitude to Nevill Coghill.[301] Burton starred as the titular character, Doctor Faustus while Taylor essayed her first stage role as Helen of Troy, a non-speaking part.[302] The play received negative opinions but Burton's and Taylor's performances were reviewed constructively. Irving Wardle of The Times called it "University drama at its worst" while the American newspaper columnist John Crosby, in his review for The Observer, lauded Burton's speech where he asks God to be merciful, stating that "It takes a great actor to deliver that speech without wringing a strangled sob of laughter out of one. But Burton did it."[303] The play nevertheless made $22,000 dollars, which Coghill was happy with.[304] Doctor Faustus was adapted for the screen the following year by both Burton and Coghill, leading to the former making his directorial debut. Burton also co-produced the film with Taylor and Coghill; it was critically panned and became a box office failure.[305] The couple's next collaboration was Franco Zeffirelli's lively version of Shakespeare's The Taming of the Shrew (1967).[306][307] The film was a challenge for Burton, who had to chase Taylor on rooftops noting that he was "permitted to do extreme physical things that wouldn't have been allowed with any other actress." Zeffirelli recalled that Taylor, who had no prior experience of performing Shakespeare's plays, "gave the more interesting performance because she invented the part from scratch." On Burton, the director felt he was, to an extent, "affected by his knowledge of the classics".[306] The Taming of the Shrew also became a notable critical and commercial success.[308] He made another quick collaboration with Zeffirelli by narrating the documentary, Florence: Days of Destruction, which was about the 1966 flood of the Arno that devastated the city of Florence, Italy; the film raised $20 million for the flood relief efforts.[309] By the end of 1967, the combined box office gross of films Burton and Taylor had acted till then reached $200 million.[310] According to biographers John Cottrell and Fergus Cashin, when Burton and Taylor contemplated on taking a three-month break from acting, Hollywood "almost had a nervous breakdown" as nearly half the U.S. cinema industry's income for films in theatrical distribution came from pictures starring one or both of them.[311] Later collaborations from the Burtons like The Comedians (1967), which was based on Graham Greene's 1966 novel of the same name, and the Tennessee Williams adaptation Boom! (1968) were critical and commercial failures.[312] In 1969, Burton enjoyed a commercial blockbuster with Clint Eastwood in the World War II action film Where Eagles Dare;[310] he received a $1 million fee plus a share of the film's box office gross.[313] According to his daughter Kate Burton, “He did that one for us kids, because we kept asking him, ‘Can you do a fun movie that we can go see?’"[314] Eastwood thought the script "terrible" and was "all exposition and complications".[315] He requested the film's producer Elliott Kastner and its screenwriter Alistair MacLean to be given less dialogue, later remarking “I just stood around firing my machine gun while Burton handled the dialogue.”[315][316] Burton enjoyed working with Eastwood and said in the picture that he “did all the talking and [Eastwood] did all the killing.”[316] Burton's last film of the decade, Anne of the Thousand Days (1969) for which he was paid $1.25 million,[317] was commercially successful but received mixed opinions from reviewers.[318][319] Noted British film critic Tom Milne of Time Out magazine believed that Burton "plays throughout on a monotonous note of bluff ferocity".[320] Conversely, Vincent Canby of The New York Times appreciated Burton's portrayal of the English monarch, noting that he "is in excellent form and voice—funny, loutish and sometimes wise."[321] Anne of the Thousand Days received ten nominations at the 42nd Academy Awards, including one for Burton's performance as Henry VIII of England, which many thought to be largely the result of an expensive advertising campaign by Universal Studios;[322][323] The same year, Staircase in which he and his "Cleopatra" co-star Rex Harrison appeared as a bickering homosexual couple, received negative reviews and was unsuccessful.[324][325] Later career and final years (1970–1984)
In Divorce His, Divorce Hers, his final film with Taylor
In 1976, Burton received a Grammy in the category of Best Recording for Children for his narration of The Little Prince by Antoine de Saint-Exupéry. He also found success in 1978, when he narrated Jeff Wayne's Musical Version of The War of the Worlds. His distinctive performance became a necessary part of the concept album – so much so that a hologram of Burton was used to narrate the live stage show (touring in 2006, 2007, 2009 and 2010) of the musical. In 2011, however, Liam Neeson was cast in the part for a "next generation" rerecording, and subsequently also replaced Burton as the hologram character in the stage show. Burton had an international box-office hit with The Wild Geese (1978), an adventure tale about mercenaries in Africa. The film was a success in the UK and Europe but had only limited distribution in the U.S. owing to the collapse of the studio that funded it and the lack of an American star in the movie. He returned to films with The Medusa Touch (1978), Circle of Two (1980), and the title role in Wagner (1983),[328] a role he said he was born to play, after his success in Equus. His last film performance, as O'Brien in Nineteen Eighty-Four, was critically acclaimed,[310] though he was not the first choice for the part. According to the film's director, Michael Radford, Paul Scofield was originally contracted to play the part, but had to withdraw due to a broken leg, then Sean Connery, Marlon Brando and Rod Steiger were all approached before Burton was cast. He had "heard stories" about Burton's heavy drinking, which had concerned the producers.[329] At the time of his death, Burton was preparing to film Wild Geese II, the sequel to The Wild Geese, which was eventually released in 1985. Burton was to reprise the role of Colonel Faulkner, while Laurence Olivier was cast as Rudolf Hess. After his death, Burton was replaced by Edward Fox, and the character changed to Faulkner's younger brother. Personal life and views
Sybil Williams circa 1950s
The relationship Burton and Taylor portrayed in the film Who's Afraid of Virginia Woolf? was popularly likened to their real-life marriage.[334] Burton disagreed with others about Taylor's famed beauty, saying that calling her "the most beautiful woman in the world is absolute nonsense. She has wonderful eyes, but she has a double chin and an overdeveloped chest, and she's rather short in the leg."[335] In August 1976, a month after his second divorce from Taylor, Burton married model Suzy Miller, the former wife of Formula 1 Champion James Hunt;[336] the marriage ended in divorce in 1982. From 1983 until his death in 1984, Burton was married to make-up artist Sally Hay. In 1957 Burton had altogether earned £82,000 from Prince of Players, The Rains of Ranchipur and Alexander the Great, but only managed to keep £6,000 for personal expenses due to taxation regulations imposed by the then-ruling Conservative Party. As a result, he consulted with his lawyer, Aaron Frosch, who suggested he move to Switzerland where the tax payment was comparatively less. Burton acceded to Frosch's suggestion and moved with Sybil in January 1957 to Céligny, Switzerland where he purchased a villa.[337] In response to criticism from the British government, Burton remarked "I believe that everyone should pay them —except actors."[171] Burton lived in Céligny until his death. In 1968 Burton's elder brother, Ifor, slipped and fell, breaking his neck, after a lengthy drinking session with Burton in Céligny. The injury left him paralysed from the neck down.[338] His younger brother Graham Jenkins opined it may have been guilt over this that caused Burton to start drinking very heavily, particularly after Ifor died in 1973.[339] In a February 1975 interview with his friend David Lewin he said he "tried" homosexuality. He also suggested that perhaps all actors were latent homosexuals, and "we cover it up with drink".[340] In 2000, Ellis Amburn's biography of Elizabeth Taylor suggested that Burton had an affair with Laurence Olivier and tried to seduce Eddie Fisher[page needed], although this was strongly denied by Burton's younger brother Graham Jenkins.[341] Burton was a heavy smoker from the time he was just eight years old; and by his own admission in a December 1977 interview with Sir Ludovic Kennedy,[where?] Burton was smoking 60–100 cigarettes per day. According to his younger brother, as stated in Graham Jenkins's 1988 book Richard Burton: My Brother, he smoked at least a hundred cigarettes a day.[pages needed] His father, also a heavy drinker, refused to acknowledge his son's talents, achievements and acclaim.[342] In turn, Burton declined to attend the funeral,[343] when his father died from a cerebral haemorrhage in January 1957 at age 81. Burton admired and was inspired by the actor and dramatist Emlyn Williams. He employed his son, Brook Williams, as his personal assistant and adviser and he was given small roles in some of the films in which Burton starred.[344] Burton was banned permanently from BBC productions in November 1974 for writing two newspaper articles questioning the sanity of Winston Churchill and others in power during World War II – Burton reported hating them "virulently" for the alleged promise to wipe out all Japanese people on the planet.[345] The publication of these articles coincided with what would have been Churchill's centenary, and came after Burton had played him in a favourable light in A Walk with Destiny, with considerable help from the Churchill family.[citation needed] Politically Burton was a lifelong socialist, although he was never as heavily involved in politics as his close friend Stanley Baker. He admired Democratic Senator Robert F. Kennedy[citation needed] and once got into a sonnet-quoting contest with him.[346] In 1973 Burton agreed to play Josip Broz Tito in a film biography, since he admired the Yugoslav leader. While filming in Yugoslavia he publicly proclaimed that he was a communist, saying he felt no contradiction between earning vast sums of money for films and holding left-wing views since "unlike capitalists, I don't exploit other people."[347] Burton courted further controversy in 1976 when he wrote an unsolicited article for The Observer about his friend and fellow Welsh thespian Stanley Baker, who had recently died from pneumonia at the age of 48; the article upset Baker's widow with its depiction of her late husband as an uncultured womaniser.[348] Melvyn Bragg, in the notes of his Richard Burton: A Life, says that Burton told Laurence Olivier around 1970 of his own (unfulfilled) plans to make his own film of Macbeth with Elizabeth Taylor, knowing that this would hurt Olivier because he had failed to gain funding for his own cherished film version more than a decade earlier. On his religious views, Burton was an atheist, stating, "I wish I could believe in a God of some kind but I simply cannot."[349] Health issues
Burton's gravestone at the Vieux Cemetery in Céligny. He is buried a few paces away from Alistair MacLean's grave.
After drinking himself nearly to death during the shooting of The Klansman (1974), Burton was dried out at Saint John's Health Center in Santa Monica, California. Burton allegedly was so inebriated while making the picture that many of his scenes had to be filmed with him sitting or lying down due to his inability to stand. In some scenes, he appears to slur his words or speak incoherently.[351] According to his own diaries, subsequently he used Antabuse to try to stop his excessive drinking, which he blamed for wrecking his marriage to Elizabeth Taylor.[352] Burton himself said of the time leading up to his near loss of life, "I was fairly sloshed for five years. I was up there with John Barrymore and Robert Newton. The ghosts of them were looking over my shoulder."[5] Burton said that he turned to the bottle for solace "to burn up the flatness, the stale, empty, dull deadness that one feels when one goes offstage."[350] The 1988 biography of Burton by Melvyn Bragg provides a detailed description of the many health issues that plagued Burton throughout his life. In his youth, Burton was a star athlete and well known for his athletic abilities and strength.[353] By the age of 41 he had declined so far in health that his arms were by his own admission thin and weak. He suffered from bursitis, possibly aggravated by faulty treatment, arthritis, dermatitis, cirrhosis of the liver, and kidney disease, as well as developing, by his mid-forties, a pronounced limp. How much of this was due to his intake of alcohol is impossible to ascertain, according to Bragg, because of Burton's reluctance to be treated for alcohol addiction; however, in 1974, Burton spent six weeks in a clinic to recuperate from a period during which he had been drinking three bottles of vodka a day. He was also a chain smoker, with an intake of between three and five packs a day for most of his adult life. Health issues continued to plague him until his death of a stroke at the age of 58. DeathBurton died at age 58 from a brain haemorrhage on 5 August 1984 at his home in Céligny, Switzerland, and is buried there.[3] Although his death was sudden, his health had been declining for several years, and he suffered from constant and severe neck pain. He had been warned that his liver was enlarged as early as March 1970,[338] and had been diagnosed with cirrhosis of the liver and kidney disease in April 1981. Burton was buried in a red suit, a tribute to his Welsh roots, and with a copy of Dylan Thomas' poems.[354] He and Taylor had discussed being buried together; his widow Sally purchased the plot next to Burton's and erected a large headstone across both, presumably to prevent Taylor from being buried there.[355]HonorsFor his contributions to cinema, Burton has a star on the Hollywood Walk of Fame at 6336 Hollywood Boulevard.[356] For his contributions to theater, Burton was inducted into the Theater Hall of Fame.[357]Filmography, other works and awards
Main article: Richard Burton, roles and awards
Selected works, based on award nominations |
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