Pompous phonetics professor Henry Higgins is so sure of his abilities that he takes it upon himself to transform a Cockney working-class girl into someone who can pass for a cultured member of high society. His subject turns out to be the lovely Eliza Doolittle, who agrees to speech lessons to improve her job prospects. Higgins and Eliza clash, then form an unlikely bond -- one that is threatened by an aristocratic suitor. Written by
Rex Harrison wanted Julie Andrews for the role of Eliza, since they had played together in the Broadway version. He was concerned that Audrey Hepburn, whose mother was a Dutch baroness, would not be able to play a "guttersnipe" effectively. However, after finishing the film, Harrison had the highest regard for Hepburn's performance, and later referred to her as his favorite leading lady of them all. (It should also be mentioned that Harrison was appalled by Andrews during initial rehearsals for the original Broadway production of "My Fair Lady". Andrews was having a lot of trouble with the characterisation of Eliza Doolittle, and the Cockney accent. So much so, that Harrison was once quoted as saying: 'If that girl is here on Monday giving the same goddamn performance, I am out of this show!') See more »
When Higgins and Eliza are on the way out to the ball, the head maid is in the line with the other maids, but in the next shot she is again going into the line. See more »
[sounds from crowd, occasionally a word or phrase, indistinct and mostly not associated with a character]
Don't just stand there, Freddy, go and find a cab.
All right, I'll get it, I'll get it.
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In the posters, playbills and the original cast album for the stage version of "My Fair Lady", the credits always read "based on Bernard Shaw's 'Pygmalion' ", letting the audience know what play "My Fair Lady" was actually adapted from. The movie credits simply read "from a play by Bernard Shaw". See more »
I was thinking about Miss Doolittle and how she seems to be left out in the wilderness at the end of My Fair Lady. I also recall Pygmalion and of course the ending in the musical is more submissive and perhaps less satisfying to a feminists perspective that Shaw's original play. It is easy to feel bad for Eliza. No one wants to see a character we have come to admire be turned out and treated in a negative way. She was up from the gutter-literally-and worked as hard as anyone could be expected to in this live altering pursuit.
The Show Must Come To An End.
I am not sure how much Shaw, the one from which all this work hails, knew about women. I suspect rather little. However, he did understand putting on a show: The months of preparation the nervousness of opening night. The work that required everyone to pitch in no matter their position and of course the inevitable closing night. I, for one, have never had this kind of experience. My theater work has included two amateur productions, each with a scheduled one night engagement. But like many of you, I have worked on team projects and done group reports in school. The more intensive the feeling, the more angst; the more you miss it when it is done. When I finished a group project, as the capstone course for my graduate degree, I found myself, temporarily, missing our thrice weekly phone calls and Google Docs sessions. When I left a job, there was a period of togetherness with my former co-workers. There, I was on both ends the spectrum: either I stopped returning calls or they lowly moved away and back into the orbit of their current, or new, colleagues.
We have all been there girlfriend ... more or less?
Eliza might well have improved her lot by taking the hit upfront. There will be adventures for a beautiful girl (oh boy, I hope she DID keep those gowns). If she asked, I would have told her that there is a big world outside of "that street where you live' and this won't hurt much longer.
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