My longstanding desire has been to witness a fresh film adaptation of the original "My Fair Lady" stage musical, widely regarded as one of the greatest musicals ever crafted, originating from George Bernard Shaw's clever play, Pygmalion.
Even with a remake, I harbor doubts that a film reboot can match the extraordinary chemistry of Rex Harrison and Julie Andrews in the original stage production.
The primary and glaring flaw in the 1964 film lies in the miscasting of Audrey Hepburn as Eliza Doolittle, the Cockney flower seller. Anyone who has witnessed Julie Andrews portraying scenes and singing songs from "My Fair Lady" from early 60s TV broadcasts would recognize her phenomenal suitability for the role. Producer Jack Warner, however, held a different perspective, deeming Andrews' unknown status in films at the time as potential box office poison, favoring the star power of Hepburn.
Firstly, Hepburn struggled to master the Cockney accent, being a non-British actress. I can't help but think it was an error to cast Hepburn in glamorous roles, given her excellence as a character actor but a misfit for the magnetic allure required for a transformed Eliza. When Higgins presents Eliza at the ball, inevitable comparisons arise, highlighting the discrepancy with Julie Andrews. Unfortunately, Ms. Hepburn falls short in the looks department. This is not a personal critique but a reflection on what works in casting.
Other issues plague the film version. The sets appear cheap, despite significant production expenditures. A more authentic touch could have been achieved by filming outdoors, perhaps at a real racetrack for the Ascot Gavotte number.
The costumes, drenched in Hollywood glamour, fall short of capturing the essence of the period, betraying a lack of authenticity. Additionally, George Cukor's direction exhibits a noticeable lack of inspiration, particularly evident in the 'Show Me' number where the inclusion of the king and soldiers feels awkward and out of place. It becomes increasingly apparent that Cukor, despite his directorial prowess in other genres, grapples with the unique demands and nuances of musical filmmaking, compromising the overall cohesiveness of the production.
Some online reviewers take issue with the character of Henry Higgins, labeling him a misogynist. I would contest this characterization, as Higgins openly admits to being a misanthrope, attributing his harsh treatment of everyone to his exceptionally high standards.
Contrary to Higgins, the principal characters in Eliza's sphere are largely supportive, including Colonel Pickering, Mrs. Pearce, Higgin's housekeeper, Mrs. Higgins (his mother), and Freddy Eynsford-Hill, the enamored young man.
Rex Harrison steals the spotlight as Higgins, portraying a multi-dimensional character who, in the song "I'm an Ordinary Man," elucidates his difficulty in relating to women due to their differing emotional nature.
The introduction of Eliza's father, Alfred J. Doolittle, brings comic relief, expertly played by Stanley Holloway. His confession that he has no morals because he "can't afford them" adds a touch of humor to the narrative.
Higgins' triumph in transforming Eliza is portrayed in the sensational number "The Rain in Spain," followed by the equally phenomenal and moving "I Could Have Danced All Night," reflecting Eliza's burgeoning feelings for Higgins.
Despite the poorly staged Ascot Racecourse scene, "Ascot Gavotte" proves to be another enchanting tune satirizing the emotional austerity of the British upper classes.
Freddy Eynsford-Hill, though besotted with Eliza, remains the least developed character, singing the great love song "On the Street Where You Live." While the Embassy Ball scene before the intermission could have been better staged, Higgins's witty references to the pretentious professor Zoltan Karpathy inject humor into the storyline.
Higgins's insensitivity is starkly displayed in the number "You Did It," leading Eliza to turn on him, convinced that he was merely using her. This prompts the eventual realization that both need to learn to be more sensitive to each other's needs.
The film's climax is emotionally charged, with Eliza confronting Higgins at his mother's house, declaring her departure. Initially miffed, Higgins eventually acknowledges her uniqueness and sings "I've Grown Accustomed to Her Face." Eliza returns, accepting him despite his emotional shortcomings.
The interpretation of the ending, with Higgins putting on his hat and instructing Eliza to fetch his slippers, suggests his suppressed emotions. Remaining true to character, Higgins avoids revealing his vulnerability, but Eliza, and consequently the audience, experience a cathartic moment.
"My Fair Lady" is near perfection, yet the poor casting choice for Eliza, weak direction, and subpar art production prevent the film from reaching its full potential. Nevertheless, the music, lyrics, and Harrison's iconic performance make this adaptation still worth watching, flaws notwithstanding.
Even with a remake, I harbor doubts that a film reboot can match the extraordinary chemistry of Rex Harrison and Julie Andrews in the original stage production.
The primary and glaring flaw in the 1964 film lies in the miscasting of Audrey Hepburn as Eliza Doolittle, the Cockney flower seller. Anyone who has witnessed Julie Andrews portraying scenes and singing songs from "My Fair Lady" from early 60s TV broadcasts would recognize her phenomenal suitability for the role. Producer Jack Warner, however, held a different perspective, deeming Andrews' unknown status in films at the time as potential box office poison, favoring the star power of Hepburn.
Firstly, Hepburn struggled to master the Cockney accent, being a non-British actress. I can't help but think it was an error to cast Hepburn in glamorous roles, given her excellence as a character actor but a misfit for the magnetic allure required for a transformed Eliza. When Higgins presents Eliza at the ball, inevitable comparisons arise, highlighting the discrepancy with Julie Andrews. Unfortunately, Ms. Hepburn falls short in the looks department. This is not a personal critique but a reflection on what works in casting.
Other issues plague the film version. The sets appear cheap, despite significant production expenditures. A more authentic touch could have been achieved by filming outdoors, perhaps at a real racetrack for the Ascot Gavotte number.
The costumes, drenched in Hollywood glamour, fall short of capturing the essence of the period, betraying a lack of authenticity. Additionally, George Cukor's direction exhibits a noticeable lack of inspiration, particularly evident in the 'Show Me' number where the inclusion of the king and soldiers feels awkward and out of place. It becomes increasingly apparent that Cukor, despite his directorial prowess in other genres, grapples with the unique demands and nuances of musical filmmaking, compromising the overall cohesiveness of the production.
Some online reviewers take issue with the character of Henry Higgins, labeling him a misogynist. I would contest this characterization, as Higgins openly admits to being a misanthrope, attributing his harsh treatment of everyone to his exceptionally high standards.
Contrary to Higgins, the principal characters in Eliza's sphere are largely supportive, including Colonel Pickering, Mrs. Pearce, Higgin's housekeeper, Mrs. Higgins (his mother), and Freddy Eynsford-Hill, the enamored young man.
Rex Harrison steals the spotlight as Higgins, portraying a multi-dimensional character who, in the song "I'm an Ordinary Man," elucidates his difficulty in relating to women due to their differing emotional nature.
The introduction of Eliza's father, Alfred J. Doolittle, brings comic relief, expertly played by Stanley Holloway. His confession that he has no morals because he "can't afford them" adds a touch of humor to the narrative.
Higgins' triumph in transforming Eliza is portrayed in the sensational number "The Rain in Spain," followed by the equally phenomenal and moving "I Could Have Danced All Night," reflecting Eliza's burgeoning feelings for Higgins.
Despite the poorly staged Ascot Racecourse scene, "Ascot Gavotte" proves to be another enchanting tune satirizing the emotional austerity of the British upper classes.
Freddy Eynsford-Hill, though besotted with Eliza, remains the least developed character, singing the great love song "On the Street Where You Live." While the Embassy Ball scene before the intermission could have been better staged, Higgins's witty references to the pretentious professor Zoltan Karpathy inject humor into the storyline.
Higgins's insensitivity is starkly displayed in the number "You Did It," leading Eliza to turn on him, convinced that he was merely using her. This prompts the eventual realization that both need to learn to be more sensitive to each other's needs.
The film's climax is emotionally charged, with Eliza confronting Higgins at his mother's house, declaring her departure. Initially miffed, Higgins eventually acknowledges her uniqueness and sings "I've Grown Accustomed to Her Face." Eliza returns, accepting him despite his emotional shortcomings.
The interpretation of the ending, with Higgins putting on his hat and instructing Eliza to fetch his slippers, suggests his suppressed emotions. Remaining true to character, Higgins avoids revealing his vulnerability, but Eliza, and consequently the audience, experience a cathartic moment.
"My Fair Lady" is near perfection, yet the poor casting choice for Eliza, weak direction, and subpar art production prevent the film from reaching its full potential. Nevertheless, the music, lyrics, and Harrison's iconic performance make this adaptation still worth watching, flaws notwithstanding.