Hellen I like the storyline of this show,it attract me so much

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

jery-tillotson-1 "Ash Wednesday" from l973 marked Elizabeth Taylor's last glamour movie. After winning her Oscar for "Who's Afraid of Virginia Woolfe", Taylor was urged by new husband, Richard Burton, to take on more quirky roles that downplayed, and thus damaged, her phenomenal movie career as a legendary beauty. When she accepted the role of Barbara, an aging middle-aged socialite who goes to Switzerland to have a body lift, Burton was enraged that she would take such a "dumb" role. We have to laugh. Burton by now was notorious for picking roles that resulted in box office bombs, like "Exorcist II," "Bluebeard," "Under Milkwood", "Staircase," etc. "Ash Wednesday" was filmed at the luxurious resort village of Cortina d'Ampezzo in Italy. Here we see a stunning Elizabeth Taylor--at last--clothed in knockout fashions from the hands of Edith Head. Beautiful gowns, robes of velvet, furs galore, hairstyles from Alexandre of Paris, rapturous photography by Ennio Guarnieri and best of all a one-of-a-kind white ermine costume to wear at the movie's mardi gras. Taylor's co-star was nearly as beautiful as she: Helmut Berger. Burton was convinced the two were having a real affair. Everyone laughed because it was known that the gorgeous Berger was the lover of Italian movie director Luchino Visconti. Taylor looks phenomenal throughout, with numerous loving closeups that show why the world had fallen in love with her. We have a beautiful musical score by Maurice Jarre but the biggest casting error is a glum, grim Henry Fonda who portrays her dull-as-dishwater husband. That male beauty, Rod Taylor of the '70s, would have been ideal. Producer Dominick Dunne wrote in his memoirs that there was more drama behind the scenes of this movie than in front it. Taylor and Burton had operatic confrontations over who was sleeping with who. He tried to physically prevent her from appearing on the set. The actress was often late, sometimes never showed up for work, overdosed several times--yet, none of this shows up on screen. "Ash Wednesday" is a movie to be treasured by Taylor fans--and we are in the millions--or anyone else who wants to see a fabulous beauty making her swan song to old-style glamour. She would never appear so uncannily beautiful again.

moonspinner55 "Ash Wednesday" opens with a series of sepia-toned, fabricated photographs putting a young, glamorous Elizabeth Taylor together with a lean, dark-haired Henry Fonda; it's a great credits-sequence, well pulled off, until we find out that all this fancy living has taken its toll on poor Liz, portraying a lawyer's wife from Detroit (couldn't they aim higher than that?). Figuring plastic surgery is the only way to win back her estranged husband's love, Taylor checks into a Swiss medical resort and receives a full-body lift, later trading in her gauze and bandages for Valentino wraps and elaborate fur ensembles for a vacation at the local chalet. There's nothing remotely engaging about this scenario, except to see La Liz in a series of delectable wardrobe changes. We know that when Fonda arrives and sees her, nothing will be different (this is telegraphed far in advance). The picture was probably ahead of its time in depicting the vanity in men as well as in women, but Taylor and Fonda have a tough time creating actual characters (the writing being hardly more than a sketch). Liz has a nice moment asking Fonda to sing with her as they walk home, also a strong scene arguing with her daughter (Margaret Blye, who is well-cast; her eyes are almost as beautiful as Taylor's). But this fairy-tale-that-isn't hasn't much to offer aside from its surface attributes, which are photographed in a maddening series of subdued colors. ** from ****

sadie_thompson I lost track of this film after they pulled Elizabeth Taylor's face off, so I can't possibly divulge any plot points. (Okay, so it wasn't Elizabeth getting her face torn off, but it was somebody and it was SICK.)The whole point to this film, as I understood it, was that Elizabeth Taylor's character Barbara is a superficial women who thinks everyone else is superficial also. Her marriage is on the rocks, so she automatically assumes she's getting ugly. Appearance isn't everything, Barbara dear. She is understandably shocked when her husband lets her in on that fact. He doesn't care if she looks like a troll named Brunhilde (which is how she starts off the film)--he just doesn't love her anymore. I thought he was a real twit, as he acts as if he couldn't care less about her and never did.I get aggravated when Elizabeth Taylor's face is the centerpiece of a movie. The woman can act, but I have yet to meet anyone who realizes that. Movies like this mirror her real life to me. She has to look beautiful, and if she doesn't, she isn't a whole person. She doesn't function properly. (Small wonder she's had so many personal problems. Being a beautiful goddess all the time has to be difficult.) To me, Barbara Sawyer is a bit like Elizabeth Taylor. Her face seems to be her fortune, and she gets quite distressed if something happens to it. It seems unfortunate that Barbara (and possibly Ms. Taylor) place so much store by looking good. "My husband's leaving me. I'm not surprised, my hair looked awful today." That sounds unreal, but that is how Barbara acts. Even more unfortunate is how my whole review here is based on how she looks. Now I'm doing it. It just makes for a very pathetic individual, and maybe Barbara is supposed to be.

lostngone4ever Elizabeth Taylor plays Barbara Sawyer, wife to Henry Fonda (who shows up late in the film) for 30 years who has not aged well (to say the least). She goes to Europe and receives plastic surgery in an attempt to save her marriage. Will her restored youth appeal to her husband or will she have to start life over and be strong enough to do so? This is the premise of Ash Wednesday, a syrupy soap opera in the ugly duckling to beautiful swan tradition. Maybe you're a fan of Liz Taylor and sought this movie out, or maybe you just managed to catch it on late night cable and there was nothing else on. Either way you probably realized that this movie wasn't exactly high caliber. But in humble defense I will praise an excellent musical score, beautiful on location scenery, and elegant Edith Head designed fashions. The premise of the movie is a good one and it could have made for a very interesting film had the screenwriter or director had any amount of talent. But the dialogue and direction are both flat. Certain scenes seem pointless and unfulfilled. However, the main point of the movie is to show loving close ups and profiles of 41 year old Taylor looking beautiful again. And, yes, with a lot more make-up and just the right camera angle, we the audience, are transplanted back to those fabulous 50's movies when Taylor didn't have to act or even speak to transfix your gaze upon her and hold it rapt. Rating for Ash Wednesday for any viewer. **(out of 4) For Liz Taylor fans. ***