"Have you ever met a man of good character where women are concerned?" - Professor Henry Higgins
I'll admit from the get-go, I'm a huge Audrey Hepburn fan, but My Fair Lady is one of my least favorite films she starred in. It's just too stuffy and too overstuffed. Though there are a lot of things I like, there is also plenty I could do without. Strangely, it's also the Hepburn film I've probably owned the most copies of--two different VHS releases, three DVD releases, and now a Blu-Ray. Jane, stop this crazy thing!
Directed by George Cukor in 1964, My Fair Lady was based on the popular stage musical by Alan Jay Lerner and Frederick Loewe, which was itself based on the George Bernard Shaw version of Pygmalion. Rex Harrison stars as Professor Henry Higgins, a linguistic expert and insufferable blowhard who makes a bet with his colleague, Colonel Pickering (Wilfrid Hyde-White), that he can take a lowly cockney flower girl and turn her into a Duchess within six months. Audrey Hepburn plays the girl, Eliza Doolittle, a scrappy kid who isn't afraid to take care of herself. Higgins puts her on a rigorous course of practicing her vowels and working to obliterate her accent. His desire is to prove that language is the key to smart society, that a woman who speaks properly can be accepted anywhere, even Buckingham Palace.
This is one of many Cinderella stories that Hepburn starred in. In fact, it's the most fully fleshed riff on the theme, a dirty girl who toils in the gutter turned into a fake princess who even turns the head of a Transylvanian prince. (Alas, he's not Dracula.) She even eventually runs away and has to be tracked down! Hepburn is very funny as Eliza, hamming it up with the exaggerated accent, and clearly enjoying all the screaming and yelling in the first act. She and Rex Harrison make a good pair, firing back and forth at one another with gleeful spite. The actor was never better than he was here. It's a testament to his natural magnetism that he is so good at making Higgins so hateful, and yet he still comes out of it as Prince Charming.
My Fair Lady is a gorgeous film to look at. With production and costume designs by the great Cecil Beaton, who won two of the eight Oscars that went to this picture, it's a grand spectacle of flowers and ribbons and bows. The day-at-the-races sequence is unforgettable, which is why it's usually the part publicity stills are drawn from. Beaton decks out the society crowd in black-and-white, saving most of the color for the gorgeous bouquet he places at the top of Eliza's hat. Cukor films the introduction of the race scene as a staged tableau, the stopping and starting rhyming with a similar introduction to the street life that Eliza has come from. And, of course, the sequence is capped by the funniest scene of the movie, with Eliza slipping back to her old ways and shouting out for her horse to move 'is bloomin' arse.
It's kind of too bad, though, that it's always the race gown that gets the most notice from My Fair Lady's wardrobe. I actually prefer the shimmering gown Eliza wears to the embassy ball and the pink number she dresses in for the final scenes. She has won the bet for Higgins by then, and she carries herself like the lady she has become. It's also when Higgins' neglect causes the rift between them, the one that causes his somewhat unconvincing transformation into a man in love. Hepburn's performance hints at her feelings throughout the film. Cukor allows her several glances in her teacher's direction that lets us know that he's winning her heart while he's altering her vocabulary. Higgins never has any such moments, and he is, after all, the man who sings of the virtues of bachelorhood in the slightly horrifying he-man-woman-hater's anthem, "I'm an Ordinary Man." Part of the point of the movie is precisely that he never did pay attention, but I could have used with a little more hint that Eliza has gotten under his skin or at least proved herself invaluable to his household.
While I'd have liked to see more in the love affair, I would have been just fine with less elsewhere. For instance, they could have dropped the Freddy character (played by Jeremy Brett), Eliza's supposed suitor. The subplot yields very little, and his signature song, "On the Street Where You Live," is the most bland number in the film. I could have also lived without the two songs sung by Eliza's father. Stanley Holloway's performance as Alfred P. Doolittle is hilarious when he's talking people's ears off, but his musical numbers, "With a Little Bit of Luck" and "Get Me to the Church on Time" go on forever.
Now that I think of it, the songs are probably the thing I like least about My Fair Lady. I find most of them too overblown, excepting maybe "Wouldn't It Be Luverly" and, of course, the one bonafide classic from the songbook, "I Could Have Danced All Night." For me, the musical interruptions just drag the movie out. I'd have much preferred to see Hepburn and Harrison in Shaw's Pygmalion, or maybe a souped-up comedy version of the same. I realize that this is blasphemy, that the Lerner and Loewe tunes are practically sacred ground, but I do think that they are what cause My Fair Lady to drift for me. It's a movie I always start off enjoying, but to get through its near three-hour running time, I always end up checking in and out a little. Tonight I did my dishes while Freddy cornered Eliza in the street. Had it gone on much longer, I might have started vacuuming.
Subtitle options come in multiple languages: English SDH, Japanese, French, Danish, Dutch, Swedish Finnish, German, Italian, Norwegian, Spanish, and Portuguese.
* Audio Commentary with art director Gene Allen (whose contribution was minimal), singer Marni Nixon (who dubbed Hepburn), and the restoration producers
The extras are presented in standard definition.