第 1 章
The Violet-Eyed Titan: Hollywood's Most Enduring Icon
Elizabeth Taylor never saw herself as larger than life, despite her global fame rivaling only Jackie Kennedy, Marilyn Monroe, and Queen Elizabeth II. Yet unlike these contemporaries, she flourished under public scrutiny, transforming it into a force that fueled her extraordinary journey. From child star to Hollywood legend, from tabloid sensation to humanitarian pioneer, Taylor's life was a masterclass in reinvention and resilience. Her violet eyes-so rare they appeared almost supernatural on screen-became emblematic of her otherworldly presence in American culture. Though J.D. Salinger once called her "the most beautiful creature," Elizabeth never considered herself truly beautiful, instead taking pride in her acting talent and later her activism. Beyond her eight marriages and dazzling jewelry collection lay a woman of remarkable substance-one who would leverage her fame to change the world when others turned away from the AIDS crisis. As her friend Colin Farrell described her in her final years: "limitless"-honest, raw, brutal, grotesque, feminine, delicate, aggressive, soft, tender, warm and acerbic.
第 2 章
From London's Wartime Shadows to Hollywood's Golden Light
Elizabeth Rosemond Taylor's journey began in London in 1932 to American parents-Sara, a former actress obsessed with making her daughter a star, and Francis, an art dealer who watched helplessly as his wife pushed their daughter into the spotlight while neglecting their son Howard. When war loomed in 1939, the Taylors fled to America aboard the SS Manhattan with their last twenty-five dollars. During the crossing, seven-year-old Elizabeth watched "The Little Princess" starring Shirley Temple and fell in love with movies-never imagining she would soon eclipse Temple's fame.
In Los Angeles, Sara orchestrated "chance" meetings with industry executives, including a tea with Universal Studios chairman J. Cheever Cowdin. After screen tests at both Universal and MGM, Elizabeth signed with Universal at $200 weekly but was dropped after her 1942 debut. Through her father's connection with producer Sam Marx, Elizabeth auditioned for "Lassie Come Home" at MGM, winning the role despite having only minutes to prepare. The 1943 film launched her career and began her lifelong friendship with co-star Roddy McDowall.
MGM signed her for $75 weekly, with Sara receiving payment as her chaperone. Elizabeth followed with roles in "Jane Eyre" and "The White Cliffs of Dover," becoming such a distraction at regular school that she transferred to MGM's studio school. There she spent her formative years on the sprawling 167-acre studio lot, occasionally glimpsing stars like Clark Gable and once nervously approaching Katharine Hepburn for an autograph.
By age twelve, Elizabeth's extraordinary beauty was already drawing industry attention. Her role in "National Velvet" (1944) made her a star, though it came at a physical cost-the horseback riding aggravated her congenital scoliosis, beginning a lifetime of back problems. During filming, she grew three inches and developed physically, prompting the studio to bind her chest to maintain her childlike appearance. This early objectification of her body would continue throughout her career.
As she matured, Elizabeth's transition from child star to adult actress proved smoother than most. Her role as Angela Vickers in "A Place in the Sun" (1951) opposite Montgomery Clift established her as a serious actress. Their friendship became one of the most important in her life, with Elizabeth often helping Monty manage the emotional toll of his Method acting approach. When scenes ended and he couldn't break character, she would hold him and soothe him: "Monty, don't do this to yourself. You've got to release it when the scene is over."
第 3 章
The Marriage Carousel: From Hilton to Todd
Elizabeth's personal life became as dramatic as any film script. At eighteen, she married hotel heir Nicky Hilton in a lavish MGM-orchestrated wedding that generated enormous publicity. The marriage quickly descended into nightmare when Hilton's charming facade gave way to alcoholism and abuse. During their honeymoon, he kicked her in the stomach, causing her to miscarry a pregnancy she hadn't even known about. "I thought, 'This is not why I was put on earth. God did not put me here to have a baby kicked out of my stomach,'" she later recalled. The marriage ended after just eight months.
After divorcing Hilton, Elizabeth found comfort with British actor Michael Wilding, twenty years her senior. Despite health issues from her Hilton trauma, she quickly improved in his presence. "At the sight of him I decided to forget my baby food," she said. "I ate everything I liked, and in a month I was cured of my ailments." They married in February 1952 in a modest London ceremony, and Elizabeth gave birth to two sons-Michael in 1953 and Christopher in 1955.
Their marriage faced unique pressures. Elizabeth became the primary breadwinner while Wilding struggled to find work in Hollywood. When pregnant, MGM suspended her without pay, forcing her to beg an executive for a loan to keep their house. "I vowed then and there that I would never have to ask anybody for anything again," she said after being humiliated. As Elizabeth grew stronger and more independent, their marriage deteriorated. She craved an equal partner with passion, not a paternal figure.
Elizabeth's third marriage to producer Mike Todd brought the passionate connection she craved. Their relationship was electric from the start-he proposed on their third date with a 29.4-carat diamond ring. Todd's larger-than-life personality matched Elizabeth's own, and for the first time, she found herself with a man who could dominate her. "He was my king," she later said.
Their happiness was short-lived. In March 1958, Todd died when his private plane "The Lucky Liz" crashed in New Mexico. Elizabeth was devastated. When she learned his plane crashed with no survivors, she let out blood-curdling screams and raced frantically through her house, inconsolable. She later told her security guard, "When the plane crashed, I crashed with it." At just twenty-six with three small children, Elizabeth faced the funeral despite her fragile state. At the Jewish Waldheim Cemetery, twenty thousand fans treated the event like a movie premiere, lunging at her and tearing at her clothes.
第 4 章
The Scandal That Changed Everything
In her grief, Elizabeth turned to Mike Todd's friend Eddie Fisher for comfort. Their relationship evolved from friendship to romance, despite Fisher being married to America's sweetheart Debbie Reynolds. The resulting scandal-America's first major celebrity love triangle-dominated headlines worldwide. The Vatican condemned Elizabeth for "erotic vagrancy," and she faced bomb threats. Despite the scandal, Elizabeth was inadvertently pioneering the sexual revolution that would transform American culture in the coming decade.
Elizabeth married Fisher in May 1959, just weeks after his divorce from Reynolds. Around this time, she also converted to Judaism-not for any man, but as a personal choice connecting her to Mike Todd's heritage. Her commitment to Israel was so strong that Arab countries banned her films, with Egypt prohibiting her from filming Cleopatra locations there in 1962.
The marriage to Fisher was doomed from the start. Elizabeth later admitted she had married "the wrong friend," seeing Eddie as a connection to Mike rather than a true love. When she began filming "Cleopatra" in Rome in 1962, everything changed. Her first meeting with Welsh actor Richard Burton, cast as Mark Antony, sparked an attraction so powerful it would define the rest of her life.
Their on-set affair became "Le Scandale"-a global sensation that eclipsed even Cold War news. The chemistry between Elizabeth and Richard was undeniable. An invisible connection constantly drew them together between takes, with Richard pointing out how Elizabeth still wore Mike Todd's ring instead of Fisher's. "He was like Prince Charming kissing the sleeping princess," Elizabeth wrote.
Eddie Fisher stopped attending filming when they shared scenes, humiliated by their obvious attraction. Though Sybil Burton received anonymous calls warning her about her husband's behavior, she believed this affair would be like his previous indiscretions. The press vilified Elizabeth while hypocritically hiding President Kennedy's affairs. Despite this, she refused to apologize for her sexuality, rejecting the double standard that condemned female desire.
第 5 章
The Burton Years: Passionate Storms and Golden Treasures
Elizabeth and Richard Burton married in 1964, beginning the most famous and turbulent relationship in Hollywood history. They were the first celebrity couple with their own nickname-"Liz and Dick"-long before "Brangelina." Their passion was legendary, as was their volatility. During their decade together, they made eleven films, traveled the world on their yacht Kalizma, and accumulated extraordinary wealth and possessions.
Burton's love for Elizabeth manifested in extravagant gifts, particularly jewelry. Her collection told the story of their passionate relationship. Richard delighted in surprising Elizabeth with extraordinary pieces, not on birthdays or holidays but spontaneously-"because it's a Wednesday." When fashion journalist Andre Leon Talley noted, "She collected jewelry like an empress," he captured her otherworldly passion for gems.
The Krupp diamond exemplified her collection's magnificence. In 1968, Richard paid $305,000 for the 33.19-carat Asscher-cut stone previously owned by Vera Krupp, wife of Nazi war criminal Alfred Krupp. When Sotheby's jewelry expert Ward Landrigan delivered it to their London penthouse, Elizabeth squealed "Oh, shit!" in delight, tackling Richard and knocking over a lamp. She joked, "How perfect it would be if a nice Jewish girl like me were to own it."
Another treasured piece was La Peregrina, a historic pearl discovered in the 1500s that had belonged to Spanish royalty and Napoleon III before Richard purchased it for $37,000 as a Valentine's gift. In a heart-stopping moment at Caesars Palace, Elizabeth discovered one of their Pekingese puppies chewing on what she feared was a bone-only to find "the most perfect pearl in the world" unscratched in the dog's mouth.
Their relationship was as destructive as it was passionate. Both drank heavily, fought publicly, and couldn't seem to live with or without each other. After divorcing in 1974, they remarried in 1975, only to divorce again in 1976. Even after their final separation, they remained connected. Richard's brother recalled how they spoke almost daily even after divorcing: "He couldn't live with her and he couldn't live without her." Even when married to others, Richard would accidentally call his new wife "Elizabeth."
第 6 章
From Senator's Wife to AIDS Activist
At forty-four, Elizabeth refused to play the victim after losing Richard. Though deeply depressed, she remained an eternal optimist who believed her next great love awaited. By summer 1976, she was dating two men: John Warner, Nixon's former Secretary of the Navy, and Ardeshir Zahedi, Iran's ambassador to the United States.
Elizabeth fell hard for the handsome, worldly Zahedi, but their relationship faced insurmountable obstacles. The shah of Iran, Zahedi's former father-in-law and boss, forbade their marriage, objecting to both Elizabeth's celebrity status and Jewish heritage. Instead, she married Warner in December 1976 and threw herself into his 1978 Senate campaign, making up to six stops daily across Virginia. Despite her enormous star power drawing crowds, Elizabeth struggled with the constraints of political life.
After Warner won his Senate seat, Elizabeth found herself in "domestic Siberia." Her husband, a workaholic who rarely missed a vote, left her alone most days and nights with instructions to "Go pour yourself a Jack Daniel's and go on upstairs and watch TV." She had no function in Washington society, where she was treated "a bit like a freak" rather than welcomed. Stripped of her jewelry, yacht, and even her favorite purple clothing, she gained over forty pounds, drinking heavily and taking painkillers to cope with her isolation.
At forty-nine, fearing she would die from an overdose if she stayed in Washington, Elizabeth decided to reinvent herself. She spent three weeks at Palm-Aire Spa in Florida, losing twenty-two pounds and reclaiming her identity. Finally breaking free from her supporting role in Warner's life, Elizabeth took on one of her greatest fears by accepting a role in Lillian Hellman's The Little Foxes-her first stage performance after more than fifty films.
Elizabeth's addiction to pain medicine worsened as she manipulated doctors into prescribing pills. One nurse revealed, "She knew when the pharmacy closed, so that we could get one last pill for the night." In 1983, her daughter-in-law Aileen Getty anonymously reported Elizabeth's doctors for overprescribing. By 1990, three doctors were accused of writing a combined thousand prescriptions for twenty-eight drugs between 1983-1988, with dosages one medical expert described as "incompatible with life."
第 7 章
The Activist Emerges: A Voice for the Voiceless
Elizabeth's transformation from movie star to activist began when her friend Rock Hudson died of AIDS in 1985. At a time when the disease carried enormous stigma and the Reagan administration remained silent, Elizabeth stepped forward. She chaired AIDS Project Los Angeles's Commitment to Life fundraiser-the first major celebrity AIDS fundraiser worldwide. She co-founded the American Foundation for AIDS Research (amfAR) and later established The Elizabeth Taylor AIDS Foundation.
Her AIDS activism combined her fundraising prowess with genuine compassion. When soliciting donations, she'd use her persuasive charm: "You are the only person who can save millions of lives." At conferences and fundraisers, Elizabeth remained both practical and passionate. At the 1991 International AIDS Conference in Florence, she famously increased Valentino's $25,000 donation to $250,000 through public pressure.
Her hospice visits revealed her genuine compassion. At San Francisco's Coming Home Hospice, she spent time with each patient, holding their hands to demonstrate it was safe to touch them, asking about their needs, and maintaining their dignity. She arrived fully glamorous-with makeup, hair done, and wearing her enormous Krupp diamond-wanting patients to meet a real movie star before they died.
Elizabeth's advocacy became deeply personal when her daughter-in-law Aileen Getty, mother of two of her grandchildren, confided her HIV-positive status in 1987. Rather than judging Getty for contracting HIV during an extramarital affair, Elizabeth responded with unconditional love, helping her access experimental treatments and supporting her through addiction struggles. "I wasn't just a sick addict to her," Getty recalled. "She recognized that I was a broken child."
In 1990, Elizabeth testified for the Ryan White CARE Act, using her celebrity strategically-senators could only take photos with her if they cosponsored the bill. She insisted on explicit language about safe sex, telling her speechwriter Sally Morrison, "I need to convey the facts using my personality." At the Freddie Mercury Tribute Concert at Wembley Stadium, she passionately urged 70,000 people: "Protect yourselves... use a condom whoever you are... I won't give up because the world needs you to live."
第 8 章
Reinvention and Legacy: The Final Act
Facing cash flow problems despite her valuable jewelry and art collections, Elizabeth pioneered celebrity branding with her fragrance empire. Starting with Passion in 1987 and followed by White Diamonds in the early 1990s, her perfumes generated over $1.5 billion in sales, earning her approximately $15 million annually-far more than her film career. She was deeply involved in every aspect, from scent development to marketing, including the iconic White Diamonds commercial filmed in Acapulco.
In her later years, Elizabeth sought reconciliation with both Todd Fisher and Debbie Reynolds. During an intimate conversation with Todd, she explained her relationship with his father after Mike Todd's death: "Your dad was so sweet to me and he was what I needed at that time. I hope that doesn't sound selfish, but I was falling apart and he was there for me."
Elizabeth and Debbie's reconciliation deepened when Carrie Fisher cast them in the 2001 TV movie "These Old Broads." Though Elizabeth initially hesitated to participate, she ultimately agreed, partly to help Debbie financially without directly giving her money. When Debbie was asked how she could be friends with Elizabeth, she quipped, "We have a lot to talk about... Like what a shit Eddie was."
When Queen Elizabeth II made Elizabeth a dame in 2000, her excitement was uncontainable. Unlike other honorees who followed protocol, Elizabeth insisted on wearing her honorary brooch immediately rather than having it boxed after the ceremony. "I've always been a 'broad,'" she quipped. "Now it's a great honor to be a dame!"
In her seventies, Elizabeth refused to be confined to her bedroom. Tim Mendelson would take her to the Abbey, a gay bar in West Hollywood, where she'd sit in rhinestone sunglasses and knee-high boots sipping watermelon martinis. These visits allowed her to witness firsthand how her AIDS activism had changed lives. Countless gay men approached her wheelchair, many in tears, saying, "You don't know this, but you saved my life." Her simple response: "Thank you, love. It was my pleasure."
Elizabeth died of congestive heart failure on March 23, 2011, at seventy-nine. She was buried at Forest Lawn Memorial Park in Glendale, behind an enormous white angel with outstretched arms. Following Jewish tradition, a service was held with fifty family members and closest friends. Colin Farrell recited her favorite poem, "The Leaden Echo and the Golden Echo" by Gerard Manley Hopkins-Richard Burton's favorite too.
Less than a year after her death, Christie's held a record-breaking auction of her belongings-the most valuable private jewelry collection in the world. The first night alone brought in almost $116 million, with buyers from thirty-six countries competing frantically. Her total estate, including clothing, topped $183 million, with jewelry alone reaching $144.2 million-most items selling for ten times their estimated value.
Elizabeth Taylor's legacy extends far beyond her films and marriages. She was a trailblazer who defined modern celebrity while using her fame for meaningful change. As she once said, "I would rather be a good woman than a great actress"-and in the end, she was both. Her foundation continues fighting injustice like HIV criminalization laws, and her mobile health clinics in Malawi have provided millions of clinic visits and save a life every day. Unlike most celebrities of her era, Elizabeth Taylor's fame never diminished, and her impact continues to resonate long after the final curtain fell on her extraordinary life.
第 9 章
The Collector: Elizabeth's Treasures Beyond Jewelry
Elizabeth's passion for collecting extended beyond her famous jewelry. Her Bel Air mansion housed an impressive art collection featuring works by Van Gogh, Degas, Renoir, Pissarro, Monet, and Utrillo. She displayed these masterpieces alongside crayon drawings by her grandchildren, treating both with equal reverence. This juxtaposition perfectly captured Elizabeth's character-valuing emotional connection as much as monetary worth.
Her home reflected her eclectic tastes. The living room featured French antiques, while her bedroom suite was decorated in her favorite blue and white. She collected Faberge objects, crystal paperweights, and rare books. Each item had a story-many gifts from her various husbands or souvenirs from film locations around the world.
Elizabeth's love of animals was legendary. Throughout her life, she kept numerous pets-dogs, cats, birds, even a lion cub named Nibbles that she briefly adopted during filming of "Cleopatra." Her Maltese named Sugar accompanied her everywhere, even to the White House. When traveling with her pets became too complicated, she would call ahead to hotels requesting photographs of the resident cats so she could have animal companionship during her stay.
Her collecting extended to people as well. Elizabeth maintained an extraordinary network of friends from all walks of life-from Hollywood royalty to her manicurists and housekeepers. She was famous for her loyalty, once paying $225,000 to settle ex-husband Eddie Fisher's gambling debts months after their divorce. This generosity extended to strangers too, like when she provided a homeless mother and son with a car, apartment, and schooling without seeking recognition.
第 10 章
The Survivor: Defying Death and Expectations
Elizabeth's numerous brushes with death became part of her mystique. By age forty-three, she had already endured pneumonia, a broken foot, a twisted colon, ruptured spinal discs, bronchitis, chemical thrombosis, phlebitis, sciatica, double pneumonia requiring a tracheotomy, and alleged suicide attempts. "I've been through it all, baby," she declared. "I'm Mother Courage."
Her famous battle with double pneumonia in 1961 during "Cleopatra" filming nearly killed her. After an emergency tracheotomy, she was given a 50/50 chance of survival. When she recovered and won her first Oscar for "Butterfield 8" while still bearing her tracheotomy scar, Shirley MacLaine quipped, "I lost to a tracheotomy," while Debbie Reynolds admitted, "Hell, I even voted for her."
Elizabeth claimed that during this near-death experience, she encountered Mike Todd, who told her she had to return because she had "something very important" to do. This brush with mortality profoundly changed her. "When I came to that last time, it was like being given sight, hearing, touch, sense of color... I knew that I wanted more in my life than what I had," she told Truman Capote.
Unlike contemporaries Marilyn Monroe and Judy Garland who succumbed to their demons, Elizabeth repeatedly returned from the brink of death like a phoenix. When accepting her Oscar after her pneumonia, she deliberately showed her tracheotomy scar, proudly displaying what she had survived. Like Plath's "Lady Lazarus," Elizabeth rose from near-death experiences determined to reclaim her life and fight against those who had objectified her.
This resilience extended to her career. When Hollywood deemed her too old for leading roles, she reinvented herself on stage, in television, and as a businesswoman. When her weight fluctuations became tabloid fodder, she responded, "Whether I've put on ten pounds or lost ten pounds is up to me." She refused to be defined by others' expectations, maintaining her authenticity in an industry that demanded conformity.
