她
是埃及艳后。她是邻家女孩。她是全世界最美的女人。伊丽莎白•泰勒（Elizabeth Taylor）周三因充血性心脏衰竭逝世，享年79岁。她打破了好莱坞明星的窠臼，在将她随性生活中的荣耀与甘苦带入演艺事业的同时，成为了一颗最闪耀的巨星。
伊丽莎白•泰勒是第一位片酬突破百万大关的女演员。另一方面，她的一生绯闻缠身，让渴盼爆料明星丑闻的小报行业赚足了银子。《华尔街日报》娱乐博客Speakeasy的作者法利(Christopher Farley)和米雷斯(Elva Ramirez)在本期《新闻中心》节目里谈论了这位刚刚去世的传奇女星。
近几十年，除小报封面人物、公开露面和名人慈善活动外，几乎被人遗忘的是她曾身为好莱坞美人的代表所散发出的魔力。
她曾十几次登上美国《生活》（Life）杂志的封面，《人物》（People）杂志更是数不胜数。安迪•沃霍尔（Andy Warhol）绘有泰勒的作品《她生命中的男人们》（Men in Her Life）于2010年在拍卖行以6300万美元成交。
Associated Press
伊丽莎白·泰勒周三因心脏衰竭在洛杉矶去世，享年79岁。她以精湛演技和出众外貌纵横好莱坞数十年，有过七位丈夫，结过八次婚。
但身为明星的泰勒与她跌宕起伏的私生活不可分割，她演了一部又一部电影，换了一个又一个丈夫，度过了一次又一次危机。20世纪70年代开始，她的电影逐渐淡出人们的视线，她开始从事对抗艾滋病等慈善事业并代言低档香水和珠宝，然而她的粉丝仍不离不弃，仍注凝视着她那双紫罗兰色的眼睛。
泰勒的演艺生涯始于好莱坞工作室时代，当时演员被电影公司的合约所束缚，电影公司悉心打造他们的形象供大众消费。而她在50年代中期开始成年之时，演员们刚刚挣脱束缚。她的特立独行使她成为八卦版的红人，同时她也正在成为国际巨星。
18岁那年，她嫁给了酒店集团继承人小康拉德•希尔顿（Conrad "Nicky" Hilton），随后又与英国男演员迈克尔•威尔丁（Michael Wilding）结婚，第三任丈夫是电影制片人麦克•托德（Mike Todd）。1958年托德在飞机失事中身亡，留下泰勒独身一人。
一年后，她与艾迪•费舍尔（Eddie Fisher）的绯闻成了50年代最轰动的消息之一，因为费舍尔当时已与黛比•雷诺斯（Debbie Reynolds）结婚，她是无可挑剔的电影女王，当时泰勒的名气没有她大。
绯闻扼杀了费舍尔的事业，但泰勒却凭借《热铁皮屋顶上的猫》春风得意。后来她在拍摄《埃及艳后》时开始与男主演理查德•伯顿（Richard Burton）交往，之后与费舍尔分道扬镳。
1963年，她接受英国《Look》杂志采访时说，我试着不戴面具生活；我不能只为了保护我的公众生活而那样地虚伪。这次采访凸显了工作室体制消失的十年给好莱坞带来的剧烈变化。
Corbis
伊丽莎白•泰勒（Elizabeth Taylor）20世纪50年代拍摄的迷人照片。
他们结过两次婚，也离过两次。泰勒曾称，如果伯顿还在世，她也许会第三次和他结婚。
除了美貌和丑闻外，泰勒也因她的聪明一直留在人们的视线中。
出演《埃及艳后》时，她要求并拿到了100万美元片酬，这在当时创下了好莱坞的片酬纪录。拍摄该片后不久，泰勒对《生活》杂志说，在我成长的阶段，那些电影工作室总让我觉得自己像是任人宰割的肉；现在当我能对100万美元很淡然的时候，我觉得自己像一块漂亮的大牛排。
泰勒生于英格兰，父母是美国人，母亲是百老汇演员，父亲是艺术品经销商。她的母亲教他跳舞，教父在他位于肯特（Kent）的庄园内教她骑马。
二战爆发前不久，这家人回到了美国，并在比弗利山庄（Beverly Hills）定居。泰勒在《灵犬莱西》（Lassie Come Home）中扮演一个英国女继承人，接着在成名作《玉女神驹》扮演同类角色，在里面与米基•鲁尼（Mickey Rooney）演对手戏。
随后她的事业稳步上升，顺利过渡到成人角色，而她的薪水也涨到了每周2000美元，报刊八卦栏目上满是电影公司为她私生活策划的流言蜚语。
泰勒的事业顶峰可能是《岳父大人》（Father of the Bride）。这部1950年拍摄的电影由文森特•明奈利（Vincente Minnelli）执导，斯宾塞•屈塞（Spencer Tracy）主演，年仅18岁的泰勒出演了片中的新娘。该片在她与希尔顿结婚后几天上映，预示着她的私生活和公众生活在未来数十年会如何相互交织，相互影响。
在老朋友罗克•哈德森（Rock Hudson）死于艾滋病后，泰勒成为参与建立美国艾滋病研究基金会（American Foundation for AIDS Research）最早也是最知名的好莱坞明星之一。
她在2005年对《美联社》（Associated Press）说，对我来说，演戏是假的，而看见别人受苦是实实在在的。
STEPHEN MILLER
（更新完成）
（本文版权归道琼斯公司所有，未经许可不得翻译或转载。）
She was Cleopatra. She was the girl next door. She was the most beautiful woman in the world.
Elizabeth Taylor, who died of congestive heart failure Wednesday at age 79, broke the mold for Hollywood celebrity by becoming a star of the first magnitude while infusing her career with the triumphs and pathologies of her freewheeling life.
Ms. Taylor was a whipsawing publicity machine through a life marked by serial marriages, near-death experiences, lawsuits, spells in recovery, and philanthropic and entrepreneurial success. And the adventures continued decades after she had ceased to be box-office gold.
What was largely forgotten in the recent decades of tabloid covers, appearances and celebrity benefits was the spell she once cast as the epitome of Hollywood beauty.
She graced the cover of Life magazine a dozen times, People magazine even more often. An Andy Warhol painting of Ms. Taylor, 'Men in Her Life,' sold at auction in 2010 for $63 million.
She won two Academy Awards for best actress. Critics first flipped for her as an adolescent equestrienne in 'National Velvet' (1944). She was incandescent in melodramas like 'Cat on a Hot Tin Roof' (1958) and 'Who's Afraid of Virginia Woolf?' (1966), both of which took advantage of her real-life propensity for verbal jousting.
But the star was inseparable from her real-life antics, as she bounced from film to film, husband to husband, crisis to crisis. Even as the films dropped out of the mix beginning in the 1970s, her public stayed with her, still gaping at the violet eyes, as she took up causes like AIDS and lent her name to down-market perfume and jewelry.
Ms. Taylor started acting during the studio era, when actors were tied by contract to studios that burnished their images for public consumption. But she emerged into adulthood in the mid-1950s, just as actors were cut loose. Her independence made her a gossip-sheet star at the same time she was achieving international superstardom.
Briefly married at age 18 to hotel heir Conrad 'Nicky' Hilton and then to English actor Michael Wilding, she was widowed in 1958 when her third husband, film producer Mike Todd, was killed in a plane crash.
A year later, her affair with Eddie Fisher became one of the great media brouhahas of the 1950s because Fisher was married to Debbie Reynolds, a squeaky-clean movie queen and a bigger star then than Ms. Taylor.
The affair killed Mr. Fisher's career, but Ms. Taylor rode high in 'Cat on a Hot Tin Roof.' She subsequently dropped Mr. Fisher after taking up with co-star Richard Burton on the set of 'Cleopatra.'
'I try not to live a lie,' she told Look magazine in a 1963 interview that underscored the radical changes a decade without the studio system had brought to Hollywood. 'I can't be that hypocritical [just] to protect my public.'
Her public seemed not to desire protection; the couple's real-life high jinks fueled their top billing in 10 further pictures, television, and, in 1983, a Broadway revival of Noël Coward's 'Private Lives.'
They were married and divorced twice. Had Mr. Burton lived, Ms. Taylor let it be known, she might have married him a third time.
In addition to the beauty and the scandals, she stayed in the public's eye because she was smart.
Not long after making 'Cleopatra'─for which she demanded and received a then-record $1 million salary─Ms. Taylor told Life magazine, 'When I was growing up, the studios always made me feel like so much meat on the hoof. Nowadays when I can be very cool about a million dollars, I feel like a nice big steak.'
Born in England to American parents, Ms. Taylor was the daughter of a Broadway actress and an art dealer. Her mother gave her dancing lessons and an adopted godfather trained her in riding at his estate in Kent.
The family returned to the U.S. shortly before the outbreak of World War II and settled Beverly Hills. Ms. Taylor was cast as an English heiress in 'Lassie Come Home,' and then in her breakthrough film 'National Velvet,' opposite Mickey Rooney.
She found steady work after that, making a smooth transition to adult roles while her salary rose to $2,000 per week and gossip columns burgeoned with rumors the studio planted about her private life.
The culmination was perhaps in 'Father of the Bride,' Vincente Minnelli's 1950 film starring Spencer Tracy, in which Ms. Taylor, just 18, played the bride. It opened days after her marriage to Mr. Hilton, a hint of how her private and public lives would cross-pollinate for decades to come.
After her old friend Rock Hudson died of the disease, she became one of the earliest and most visible Hollywood stars in the founding of the American Foundation for AIDS Research.
'Acting is, to me now, artificial,' she told the Associated Press in 2005. 'Seeing people suffer is real.'
STEPHEN MILLER
Elizabeth Taylor, who died of congestive heart failure Wednesday at age 79, broke the mold for Hollywood celebrity by becoming a star of the first magnitude while infusing her career with the triumphs and pathologies of her freewheeling life.
Ms. Taylor was a whipsawing publicity machine through a life marked by serial marriages, near-death experiences, lawsuits, spells in recovery, and philanthropic and entrepreneurial success. And the adventures continued decades after she had ceased to be box-office gold.
What was largely forgotten in the recent decades of tabloid covers, appearances and celebrity benefits was the spell she once cast as the epitome of Hollywood beauty.
She graced the cover of Life magazine a dozen times, People magazine even more often. An Andy Warhol painting of Ms. Taylor, 'Men in Her Life,' sold at auction in 2010 for $63 million.
She won two Academy Awards for best actress. Critics first flipped for her as an adolescent equestrienne in 'National Velvet' (1944). She was incandescent in melodramas like 'Cat on a Hot Tin Roof' (1958) and 'Who's Afraid of Virginia Woolf?' (1966), both of which took advantage of her real-life propensity for verbal jousting.
But the star was inseparable from her real-life antics, as she bounced from film to film, husband to husband, crisis to crisis. Even as the films dropped out of the mix beginning in the 1970s, her public stayed with her, still gaping at the violet eyes, as she took up causes like AIDS and lent her name to down-market perfume and jewelry.
Ms. Taylor started acting during the studio era, when actors were tied by contract to studios that burnished their images for public consumption. But she emerged into adulthood in the mid-1950s, just as actors were cut loose. Her independence made her a gossip-sheet star at the same time she was achieving international superstardom.
Briefly married at age 18 to hotel heir Conrad 'Nicky' Hilton and then to English actor Michael Wilding, she was widowed in 1958 when her third husband, film producer Mike Todd, was killed in a plane crash.
A year later, her affair with Eddie Fisher became one of the great media brouhahas of the 1950s because Fisher was married to Debbie Reynolds, a squeaky-clean movie queen and a bigger star then than Ms. Taylor.
The affair killed Mr. Fisher's career, but Ms. Taylor rode high in 'Cat on a Hot Tin Roof.' She subsequently dropped Mr. Fisher after taking up with co-star Richard Burton on the set of 'Cleopatra.'
'I try not to live a lie,' she told Look magazine in a 1963 interview that underscored the radical changes a decade without the studio system had brought to Hollywood. 'I can't be that hypocritical [just] to protect my public.'
Her public seemed not to desire protection; the couple's real-life high jinks fueled their top billing in 10 further pictures, television, and, in 1983, a Broadway revival of Noël Coward's 'Private Lives.'
They were married and divorced twice. Had Mr. Burton lived, Ms. Taylor let it be known, she might have married him a third time.
In addition to the beauty and the scandals, she stayed in the public's eye because she was smart.
Not long after making 'Cleopatra'─for which she demanded and received a then-record $1 million salary─Ms. Taylor told Life magazine, 'When I was growing up, the studios always made me feel like so much meat on the hoof. Nowadays when I can be very cool about a million dollars, I feel like a nice big steak.'
Born in England to American parents, Ms. Taylor was the daughter of a Broadway actress and an art dealer. Her mother gave her dancing lessons and an adopted godfather trained her in riding at his estate in Kent.
The family returned to the U.S. shortly before the outbreak of World War II and settled Beverly Hills. Ms. Taylor was cast as an English heiress in 'Lassie Come Home,' and then in her breakthrough film 'National Velvet,' opposite Mickey Rooney.
She found steady work after that, making a smooth transition to adult roles while her salary rose to $2,000 per week and gossip columns burgeoned with rumors the studio planted about her private life.
The culmination was perhaps in 'Father of the Bride,' Vincente Minnelli's 1950 film starring Spencer Tracy, in which Ms. Taylor, just 18, played the bride. It opened days after her marriage to Mr. Hilton, a hint of how her private and public lives would cross-pollinate for decades to come.
After her old friend Rock Hudson died of the disease, she became one of the earliest and most visible Hollywood stars in the founding of the American Foundation for AIDS Research.
'Acting is, to me now, artificial,' she told the Associated Press in 2005. 'Seeing people suffer is real.'
STEPHEN MILLER
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