Perfectly jumping from uncomfortably funny, to frighteningly threatening, to terribly sad. The first movie by Mike Nichols is immaculate in every aspect. Its direction, writing, photography, editing, score, and acting are undisputable making it a terrific adaptation of Edward Albee’s 1962 play of the same name.

Richard Burton and Elizabeth Taylor are George and Martha. He is a professor in college, and she is the daughter of the president of the institution. Married for many years now, they have grown tired of each other and drown their sorrows in alcohol. One night, after a party, the bitter pair welcome home the young and seemingly perfect newly arrived Nick (George Segal) and Honey (Sandy Dennis) for one last drink.

The first thing that will catch the eye of the casual moviegoer is undoubtedly its acting. Taylor and Burton are a “tour de force” throughout the film. Mostly showing vulnerability or ruthlessness, but even sweetness at times, the, at the time real-life couple, take the screen by storm. Nonetheless Segal and Dennis definitely keep up the pace an act as the perfect “lackeys” to the other two drama and shenanigans. Segal will take part a more active role in the story, driving forward the story for the young pair, but although being mostly in the background, and acting as a sparring and crotch, the movie cannot be conceived without the perfect presence of Dennis.

But, one thing must not be overlooked, as without it the previously mentioned could not have happened, which is the marvellous writing. Obviously based on Albee’s play, the fantastic work that Ernest Lehman does to adapt it cannot be overstated. The script feels impressively naturalistic. People not listening to each other, talking over each other, repeating themselves, having more than one conversation at the same time… all elements that we experience on a day-to-day basis are perfectly translated in here, which is of course also supported by the always on point delivery of each one of the performers.

This great writing and its perfect delivery are further enhanced by great choices in the technical department. The composition of every shot (who and how is in the frame), every cut (either accelerated or imperceptible depending on the feeling that wants to convey) and every directing remark are excellent and strengthen every element of the acting and the story. You could actually watch the movie four times, one per actor and you would see a completely different film, each one of them provides different nuances and attitude to the action that is unfolding. Each one acts a certain way with a drink in hand, each one reacts a certain way to some secret being unravel or commotion that ensues, and obviously all those elements can only be appointed to all those aforementioned aspects, but in special Nichols’ direction.

Lastly, we have Alex North’s music. The perfect use of strings, which emphasises the guitar, accompanied by a soft beat-making piano fantastically deliver on the overall mood and feel of the film. Which is that of regret and melancholy, even if their characters and actions masquerade it with impetuousness and stridencies.

All in all, it is quite baffling that someone who was doing his first film could do such a magnificent piece. Even if supported by great source material and a terrific cast with two mammoth stars at the time of making the film such as Burton and Taylor, the truth is that there is more than meets the eye and that is thanks to the hand of a great director and team behind him. A film can have a great script and great actors in it but if it lacks a clear vision the picture will fall flat for sure. This is not the case, as the technical work commanded by Nichols does nothing else than perfectly capturing the essence of the story, highlighting every detail that needs highlighting with perfect timing and therefore increasing it effect and power.