Who’s Afraid of Virginia Woolf? is a 1966 film based
on the 1962 stage play of the same name by Edward Albee. It stars Richard
Burton as the middle-aged history professor George; Elizabeth Taylor as his
wife Martha, the daughter of the college president; George Segal as the young
new professor in the biology department; and Sandy Dennis as Honey, his
somewhat fragile wife. Martha has invited the younger couple over for a visit
after a late college party, and as the night wears on and many drinks are
consumed, the lacquer of appearances are stripped away, vicious mind-games are
played, and bare, tragic truths are revealed about both couples.
At
the end of the night, as dawn breaks and the younger couple has finally left,
George recites the song that has recurred all night, “Who’s Afraid of Virginia
Woolf?” (a parody, of course, of “Who’s Afraid of the Big Bad Wolf?”). Martha
bleakly replies, “I am, George, I am.” This significance of this final line has
been interpreted several ways, but I think it inevitably recalls the fact that
Woolf killed herself when life seemed too unbearable, and what Martha fears is her
own suicide.
The
film has an all-star cast, a slew of nominations and awards, and wordplay at a
high and engaging level. But what first drew my attention and made me watch the
film (maybe ten years or so ago) was the entire setting. It really invoked for me
my early childhood, from the night-time exteriors (especially when George goes
out to sit on a swing) to the tank of a 1962 Ford Country Squire that George
and Martha drive. The maddening full moon is visually insisted upon and makes
the darkness only darker.
As I
watched it, I realized that at a deep level it was also about Fantasy, in its grimmer
aspects as a tool to get through life. George and Martha have been denied many
avenues of fulfillment due to their circumstances. There is one aspect of the ‘fun
and games’ they play that brings mitigation of their situation, especially to
Martha. It is the destruction of this illusion that brings her to the film’s desolate
conclusion.
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