When Oxford University Press suggested Matthew Kennedy, M.A. ’92, write a book for its Opinionated Guide series, he said he knew exactly what film star to cover: Elizabeth Taylor.
“I chose Elizabeth Taylor because I've been fascinated by her for so long that it was it was a joy to write and research,” said Kennedy, a film historian and former anthropology instructor.
His fifth book on film history, On Elizabeth Taylor: An Opinionated Guide (Oxford University Press, 2024), is a film-by-film critique and appreciation of her entire career. He watched all 67 of her movies and presents an essay on each.
“She has had many, many biographies done of her,” Kennedy said. “And yet most of them just skirt through her actual films.” Instead, Kennedy focuses on Taylor’s acting, exploring her development from child actor to leading status.
Here, he talks about his approach to writing, his time at о and more.
After watching all her films, what is your overall takeaway on Elizabeth Taylor’s acting?
I studied and read about her approach to acting, and then, as I watched, I could see her growth as an actress. She started when she was 10. She was very beautiful, even as a child. She got a contract with the leading studio of Hollywood, MGM, and she was put into a succession of films. And honestly, I think she was given opportunities that somebody who didn't have her spectacular looks wouldn't have had. But she grew into her gifts as an actress until it was undeniable that if she was effective on screen, it wasn't simply because she was beautiful. So that was a tricky thing in terms of analyzing her work. Maybe I'm moved by a performance — is that because of that face or her talent independent of her beauty? And I came away realizing that she was magnificent by the late 1950s.
How did you approach writing?
When it came time to watch the next movie, I sort of asked myself what I was in the mood for. Do I want teenage Elizabeth Taylor, or do I want middle-aged Elizabeth Taylor? I did find, however, there were certain films that scared me a little in terms of having to write about them. I felt a little intimidated by Cleopatra because it’s not necessarily that well known today what a huge event that film was and how notorious it was for going over budget. But I thought, what can I say about that film that hasn't been said? I focus on her acting, what she’s giving to the screen.
And then some essays I knew would be longer than others because they're more important films. I would watch each film and take raw notes. I tried to make sure that each essay stood alone, and it didn't feel like there was a formula. I also did some research to include some quotes from directors and costars. And because this is an opinionated guide, I get to render my opinion.
How opinionated did you get?
Well, you know, I'd say most of it is very respectful. I love her. I hope it comes through that I love her as an actress, even in films in which maybe she's not giving her all. I definitely can say there are some performances of hers that really aren’t that wonderful. In a 50-year career, that’s going to happen. And then there are others where I feel just reverential, but I don’t want to be a gushing fan. I want to be an objective observer. But, yeah, I have some opinions.
You earned your M.A. in anthropology, so how did that career path lead you to where you are now?
I studied cultural anthropology at о, and then I taught anthropology at City College of San Francisco for 23 years. That’s the anthropology track. The film track is that I have loved film since I was a kid, and I started writing reviews right around the time I was in Davis. As I got more and more into film writing, I wanted to try writing film books.
How does this connect with Davis? I do think about film history anthropologically. We can study [movies] to gain an idea of our societal values, our assumptions, taste in movies at the time. Do they still speak to us, or have they gone obsolete? To me that’s history, that’s culture, that’s art.
If you could write another Opinionated Guide, who would it be about?
I've thought about Rock Hudson, who is [Taylor’s] costar in Giant. It would be interesting, I think, to study his career and [how] so many of his films today look like they have coded gay references.
He worked with a number of leading directors. He didn’t have the career Taylor did, but I wouldn’t pretend that he did. I find him fascinating, anthropologically and historically. And I think combining that with an actual analysis of his films would be interesting.