From 1945-66, Elizabeth Taylor (1932-2011) appeared in 16 movies that were among the Top 10 box office films of their respective years. For three of those years, she made no movies. Then, with John Huston's "Reflections in a Golden Eye" (1967), a fine version of Carson McCullers' novel starring Taylor and Marlon Brando, her box office potency ended. She would never again draw large audiences to movie theatres. But she starred in another 14 feature films, some of which are fascinating. Among them is "Ash Wednesday" (1973), available in DVD.
Barbara Sawyer (Taylor) is a wealthy, middle-aged matron unhappy with her appearance. Her face and figure no longer look like they once did. Without telling her husband Mark (Henry Fonda), she goes to a European clinic for cosmetic surgery. She hopes that the results will rekindle his sexual desire. She knows he's been unfaithful and has a younger mistress.
At the clinic, she meets David (Keith Baxter), a fashion photographer who's also having work done, not for the first time. He reassures her that she will look beautiful when it's over. Dr. Lambert (Maurice Teynac), the plastic surgeon, details everything he'll do, and promises she won't be disappointed.
Watching the surgical preparations is grimly engrossing. The film graphically shows what's involved. It's not for the squeamish. After the surgery, her face, hands, breasts are heavily bandaged. She's in considerable pain. But David and Dr. Lambert insist it's a small price to pay.
When the bandages are removed, her face is swollen and discolored. She's told not to look at herself. Soon enough, however, everything heals, and quelle surprise, Barbara has been transformed into the still-beautiful Elizabeth Taylor, then only 41 years old.
Naturally, Barbara is pleased with the results. She dines alone at her hotel's swank restaurant, and is delighted with the attention she commands. At another table, a woman slaps a handsome young man (Helmut Berger) and leaves the restaurant. Barbara makes eye contact with him, then laughs. She gets a call from Mark. Last-minute business dealings mean he won't be arriving as scheduled, but will get there as soon as he can. Frustrated, disappointed, she orders several desserts.
The next evening, Barbara again dines alone. The young man from the night before approaches her table, and, uninvited, joins her for dinner. His name is Erich. She knows he's a gigolo. When the check arrives, he looks away. She asks his room number. He gives it to her, thinking she plans to visit him later. Instead, she writes it on the check - a splendid scene.
David takes her to a disco. She enjoys it. He takes her to a gossipy party where she sees Erich. She approaches him. She's drawn to him but hesitant. They dance, then kiss hungrily before spending the night together.
Her daughter Kate (Margaret Blye) arrives unexpectedly. She's stunned by how beautiful Barbara looks. She also tells her it's too late to save her marriage. Mark is in love with his young girlfriend and wants a divorce. Barbara refuses to believe her. Kate tells her she doesn't need Mark - she can have any man she wants, except Mark, the one man she does want.
Mark finally arrives by train. Barbara is at the station, watching him. He doesn't see her. Finally, she embraces him, happy, clearly in love. He's distant, but mutters, "My god, my god, you're beautiful." This gives her hope.
That night at dinner, she gives him an expensive watch. He's uncomfortable. They dance to "The Very Nearness of You," a song they both love. She sees Erich, but is only interested in Mark. He's cold and rejects her displays of affection.
In their hotel room, he says, "We can't live on memories." She asks what happened. "It's all wrong. A charade." He no longer cares about his business. He's changed. "We don't satisfy each other anymore. You frighten me." He wants a divorce. It will help her regain her self-respect.
Desperate, she asks him to look at her breasts, at her face. He admits she looks like the woman he married, but it doesn't matter. She tells him about Erich. He's hurt, but says he's glad for her and wants her to be happy, to make a new life for herself. He insists she can handle it, and promises to always be there for her should she need him. She's devastated.
He leaves. At the train station he says, "Take care. Be happy." She's heartbroken. But he's right. She will be OK.
Taylor gives a nuanced, often touching performance. After several films in which she played a shrew, critics commented favorably on her more balanced, often gentle characterization. She's convincing in her belief that a physical transformation would save her marriage - a classic example of a woman being judged primarily by her appearance.
Fonda is fine. He doesn't try to make Mark sympathetic. He superbly conveys a man desperate to begin a new life. He's reluctant to hurt her, but will if he must.
Baxter is terrific as David. Berger is ideally cast and effective as Erich. Blye is excellent as the realistic Kate. Larry Peerce's direction seems influenced by Douglas Sirk's lavishly produced melodramas of the 1950s, but doesn't rise to that level. Jean-Claude Tramont wrote the screenplay. Filmed in Cortina and other posh Italian locations. With glorious cinematography by Ennio Guranieri and a rich score by Maurice Jarre. Produced by writer Dominick Dunne.
Edith Head designed Taylor's wardrobe, which often fails to hide her zaftig figure. Some of her creations actually made Taylor, frequently photographed full-length at a distance, appear top-heavy. Valentino designed the stunning, flattering white gown that Taylor wears to a Mardi Gras party. Many of the jewels she sports were from her famous private collection.
The performances and first-rate production values make "Ash Wednesday" a guilty pleasure.