WHERE OTHER BIOGRAPHERS seek to make the personal public, Roger Lewis seeks to find the personal in the public, or rather in the performative. Moving diligently through each of Elizabeth Taylor and Richard Burton’s films, he tracks their extravagant and debauched lives, their multitudinous marriages, and their endless vices as they coincided with the actors’ on-screen personas.
Arguably the first modern celebrities, Taylor and Burton’s lives are ripe with salacious stories and titillating details, from trashing hotel rooms and
