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The Taming of the Shrew

The Taming of the Shrew

Comedy · Romance · 1967

Italy, 16th century. Petruchio, a choleric, lying and poor rural landowner from Verona, arrives in Padua in search of fortune and a wife, while Baptista, a wealthy merchant, announces that he will not allow Bianca, his youngest daughter, to marry until the temperamental and unruly Katherina, his eldest daughter, does.

Movie details

The Taming of the Shrew

“The motion picture they were made for!”

1967 Comedy · Romance 1h 57m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

Italy, 16th century. Petruchio, a choleric, lying and poor rural landowner from Verona, arrives in Padua in search of fortune and a wife, while Baptista, a wealthy merchant, announces that he will not allow Bianca, his youngest daughter, to marry until the temperamental and unruly Katherina, his eldest daughter, does.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Taming of the Shrew?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Franco Zeffirelli

Written by

Suso Cecchi d'Amico · Paul Dehn · Franco Zeffirelli

Elizabeth Taylor

Elizabeth Taylor

Katharina

Richard Burton

Richard Burton

Petruchio

Natasha Pyne

Natasha Pyne

Bianca

Michael York

Michael York

Lucentio

Cyril Cusack

Cyril Cusack

Grumio

Michael Hordern

Michael Hordern

Baptista

Alfred Lynch

Alfred Lynch

Tranio

Court is in session

Put The Taming of the Shrew on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.