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My Fair Lady
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My Fair Lady (1964) More at IMDbPro »

Photos (See all 175 | slideshow) Videos (see all 7)
My Fair Lady -- Eliza sings The Rain in Spain
My Fair Lady -- Clip: Eliza works on her pronunciation with help from professor Higgins
My Fair Lady -- A misogynistic and snobbish phonetics professor agrees to a wager that he can take a flower girl and make her presentable in high society.
My Fair Lady -- Clip: Eliza sings Wouldn't it be Loverly
My Fair Lady -- Clip: Eliza finds a friend in Mrs. Higgins


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Up 3% in popularity this week. See why on IMDbPro.
Alan Jay Lerner (book)
George Bernard Shaw (from a play by)
View company contact information for My Fair Lady on IMDbPro.
Release Date:
25 December 1964 (USA) See more »
The loverliest motion picture of them all! See more »
A misogynistic and snobbish phonetics professor agrees to a wager that he can take a flower girl and make her presentable in high society. Full summary » | Full synopsis »
Won 8 Oscars. Another 19 wins & 10 nominations See more »
User Reviews:
a humdinger emblazoned with sparkling gender politics and chipper euphony. See more (274 total) »


  (in credits order) (verified as complete)

Audrey Hepburn ... Eliza Doolittle

Rex Harrison ... Professor Henry Higgins

Stanley Holloway ... Alfred P. Doolittle

Wilfrid Hyde-White ... Colonel Hugh Pickering

Gladys Cooper ... Mrs. Higgins

Jeremy Brett ... Freddy Eynsford-Hill

Theodore Bikel ... Zoltan Karpathy

Mona Washbourne ... Mrs. Pearce
Isobel Elsom ... Mrs. Eynsford-Hill
John Holland ... Butler
rest of cast listed alphabetically:
Elizabeth Aimers ... Cockney (uncredited)
Helen Albrecht ... Ascot Extra (uncredited)
John Alderson ... Jamie - Doolittle's crony (uncredited)
Mary Alexander ... Cockney (uncredited)
LaWana Backer ... Ad Lib at Church (uncredited)

Frank Baker ... Elegant Bystander (uncredited)
Lois Battle ... Second Maid (uncredited)
Brittania Beatey ... Daughter of Elegant Bystander (uncredited)

William Beckley ... Footman (uncredited)

Marjorie Bennett ... Cockney with Pipe (uncredited)

Oscar Beregi Jr. ... Greek Ambassador (uncredited)

Betty Blythe ... Lady at Ball (uncredited)
Diana Bourbon ... Ascot Extra (uncredited)
Iris Bristol ... Flower Girl (uncredited)
Tex Brodus ... Ascot Extra (uncredited)
Sue Bronson ... Toff (uncredited)
Meg Brown ... Ad Lib at Church (uncredited)
Buddy Bryant ... Prince of Transylvania (uncredited)

Walter Burke ... Bystander Who Warns Eliza (uncredited)
Bea Marie Busch ... Cockney (uncredited)
Colin Campbell ... Ascot Gavotte (uncredited)
Jeannie Carson ... Ad Lib at Church (uncredited)
Paulle Clark ... Ad Lib at Ascot (uncredited)
Natalie Core ... Ascot Extra (uncredited)
Tom Cound ... Footman (uncredited)
Jennifer Crier ... Mrs. Higgins' Maid (uncredited)

Maurice Dallimore ... Selsey Man (uncredited)
Allison Daniell ... Ad Lib at Ascot (uncredited)

Henry Daniell ... Ambassador (uncredited)
Donna Day ... Cockney (uncredited)
Roy Dean ... Footman (uncredited)
Thomas Dick ... Cockney (uncredited)
Brendan Dillon ... Leading Man (uncredited)
Anne Dore ... Ad Lib at Church (uncredited)
Pauline Drake ... Ad Lib at Church (uncredited)
Harvey B. Dunn ... Ascot Extra (uncredited)
Sandy Edmundson ... Toff (uncredited)
Joe Evans ... Cockney (uncredited)
Kai Farelli ... Juggler (uncredited)
Ray Foster ... Cockney (uncredited)
Raymond Foster ... Cockney (uncredited)
Raymond Foster ... Undtermined Role (uncredited)
Stanley Fraser ... Ad Lib at Church (uncredited)
Charles Fredericks ... King George V in Fantasy Sequence (uncredited)
Lea Genovese ... Toff (uncredited)
Ayllene Gibbons ... Fat Woman at Pub (uncredited)
Jack Goldie ... Ad Lib at Church (uncredited)
Jack Greening ... George (uncredited)
Beatrice Grenough ... Grand Lady (uncredited)
Clive Halliday ... Costermonger (uncredited)
Sam Harris ... Guest at Ball (uncredited)
Marjory Hawtrey ... Ad Lib at Ascot (uncredited)
Eric Heath ... Costermonger (uncredited)
Monika Henreid ... Ad Lib at Church (uncredited)
Eugene Hoffman ... Juggler (uncredited)
Samuel Holmes ... Cockney (uncredited)

Jimmie Horan ... (uncredited)

Clyde Howdy ... Ad Lib at Church (uncredited)

Kendrick Huxham ... Elegant Bystander (uncredited)

Lillian Kemble-Cooper ... Lady Ambassador (uncredited)

Phyllis Kennedy ... Cockney (uncredited)

Colin Kenny ... Ad Lib at Church (uncredited)
Goldie Kleban ... Cockney (uncredited)
Peter Ladefoged ... Voice of Linguistics Lesson (uncredited)
Alma Lawton ... Flower Girl (uncredited)

Queenie Leonard ... Cockney Bystander (uncredited)
William Linkie ... Cockney (uncredited)
Rico Lopez ... Horseman (uncredited)

Moyna MacGill ... Lady Boxington (uncredited)

Laurie Main ... Hoxton Man Not Hoston (uncredited)
Sidney Marion ... Ad Lib at Church (uncredited)
Eric Martin ... Ad Lib at Church (uncredited)

Owen McGiveney ... Man at Coffee Stand (uncredited)

John McLiam ... Harry (uncredited)
Shirley Melline ... Ad Lib at Church (uncredited)
Carol Merrill ... Toff (uncredited)
Gigi Michel ... Toff (uncredited)
Lenore Miller ... Cockney (uncredited)

John Mitchum ... Ad Lib at Church (uncredited)

Barbara Morrison ... Ascot Extra (uncredited)
Marlene Morrow ... Toff (uncredited)

Alan Napier ... Gentleman Escorting Eliza to the Queen (uncredited)
Nick Navarro ... Dancer (uncredited)

Marni Nixon ... Playback vocalist for Audrey Hepburn (uncredited)

James O'Hara ... Costermonger (uncredited)
Patrick O'Moore ... Man (uncredited)

Richard Peel ... Costermonger (uncredited)
George Pelling ... Ad Lib at Church (uncredited)

Barbara Pepper ... Doolittle's Dance Partner (uncredited)
Hilda Plowright ... Bystander (uncredited)
Frank Radcliffe ... Cockney (uncredited)

Jack Raine ... Extra (uncredited)
Olive Reeves-Smith ... Mrs. Hopkins (uncredited)
Christopher Riordan ... Suitor at Ball (uncredited)
David Robel ... Cockney (uncredited)
Dinah Anne Rogers ... First Maid (uncredited)
Victor Rogers ... Policeman (uncredited)
Corinne Ross ... Cockney (uncredited)
Baroness Rothschild ... Queen of Transylvania (uncredited)
Wendy Russell ... Ad Lib at Church (uncredited)
Kenny Salvatt ... Racegoer in 'Ascot Gavotte' Sequence (uncredited)
Miriam Schiller ... Landlady (uncredited)
Buddy Shea ... Ad Lib at Church (uncredited)

Orville Sherman ... Ascot Extra (uncredited)
Jacqueline Squire ... Parlor Maid (uncredited)
Michael St. Clair ... Bartender (uncredited)
Geoffrey Steele ... Taxi Driver (uncredited)
Sandy Steffens ... Toff (uncredited)

Grady Sutton ... Ascot Extra / Guest at Ball (uncredited)
Henry Sweetman ... Cockney (uncredited)
William Taylor ... Cockney (uncredited)
Joy Tierney ... Cockney (uncredited)
Arthur Tovey ... Singer (uncredited)
Gwendolyn Watts ... Cook (uncredited)
Ron Whelan ... Algernon / Bartender (uncredited)
Elzada Wilson ... Ad Lib at Church (uncredited)
Nick Wolcum ... Ad Lib at Church (uncredited)
James Wood ... Cockney (uncredited)

Ben Wright ... Footman at Ball (uncredited)
Ben Wrigley ... Costermonger (uncredited)

Directed by
George Cukor 
Writing credits
Alan Jay Lerner (book of musical play)

George Bernard Shaw (from a play by) (as Bernard Shaw)

Alan Jay Lerner (screenplay)

Produced by
Jack L. Warner .... producer
Original Music by
André Previn (uncredited)
Cinematography by
Harry Stradling Sr. (director of photography) (as Harry Stradling)
Film Editing by
William H. Ziegler (film editor) (as William Ziegler)
Production Design by
Cecil Beaton 
Gene Allen (uncredited)
Art Direction by
Gene Allen 
Cecil Beaton (uncredited)
Malcolm C. Bert (uncredited)
Set Decoration by
George James Hopkins 
Costume Design by
Cecil Beaton (costumes)
Michael Neuwirth (uncredited)
Makeup Department
Gordon Bau .... makeup supervisor
Jean Burt Reilly .... supervising hair stylist
Dean Cole .... hair stylist (uncredited)
Frank McCoy .... makeup artist (uncredited)
Robert J. Schiffer .... makeup artist (uncredited)
Marvin G. Westmore .... makeup artist (uncredited)
Production Management
Sergei Petschnikoff .... unit manager
Rudi Fehr .... post-production supervisor (uncredited)
Second Unit Director or Assistant Director
David S. Hall .... assistant director (as David Hall)
Art Department
Cecil Beaton .... scenery designer
Sound Department
Francis J. Scheid .... sound
Murray Spivack .... sound
George Groves .... sound recordist: studio (uncredited)
Camera and Electrical Department
Gerald Perry Finnerman .... camera operator (uncredited)
Frank Flanagan .... gaffer (uncredited)
Michael A. Jones .... rigging gaffer (uncredited)
Doug Mathias .... electrical rigging (uncredited)
Wally Meinardus .... camera operator (uncredited)
George R. Schrader .... grip (uncredited)
Chris Schweibert .... color technician (uncredited)
Chris Schwiebert .... color technician (uncredited)
Roger Shearman .... first assistant camera (uncredited)
Mel Traxel .... still photographer (uncredited)
Robert Willoughby .... still photographer (uncredited)
Casting Department
Robert Lennard .... casting: British (uncredited)
Costume and Wardrobe Department
Eleanor Abbey .... costumer (uncredited)
Dave Berman .... assistant costume designer (uncredited)
Yvonne Blake .... assistant costume designer (uncredited)
Geoffrey Brown .... costumer (uncredited)
Norma Brown .... costumer (uncredited)
Betty Huff .... costumer (uncredited)
Joan Joseff .... costume jeweller (uncredited)
Anne Laune .... costumer (uncredited)
Bob Richards .... costumer (uncredited)
Gerda Robinson .... costume design coordinator (uncredited)
Joe Wiatt .... costumer (uncredited)
Music Department
Alexander Courage .... orchestrator
Robert Franklyn .... orchestrator
Alan Jay Lerner .... lyrics by
Frederick Loewe .... additional music
Frederick Loewe .... music by
André Previn .... music conductor (as Andre Previn)
André Previn .... music supervisor (as Andre Previn)
Robert Tucker .... vocal arrangements
Albert Woodbury .... orchestrations (as Al Woodbury)
Uan Rasey .... musician: trumpet soloist (uncredited)
Other crew
Herman Levin .... stage producer: musical play
Hermes Pan .... choreographer
Leah Barnes .... milliner (uncredited)
Max Bercutt .... unit publicist (uncredited)
Carl Combs .... unit publicist (uncredited)
Wayne Fitzgerald .... title designer (uncredited)
Robert A. Harris .... producer: 1994 film restoration (uncredited)
Joe Hyams .... studio publicity director (uncredited)
Joe Hyams .... studio publicity executive (uncredited)
Michael Hyatt .... assistant restorationist: 1994 film restoration (uncredited)
James C. Katz .... producer: 1994 film restoration (uncredited)
Peter Ladefoged .... advisor: phonetics (uncredited)
Mort Lichter .... unit publicist (uncredited)
Sergei Petschnikoff .... production administrator (uncredited)
Susan Seton .... dialogue director (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
170 min
Color (Technicolor)
Aspect Ratio:
2.20 : 1 See more »
Sound Mix:

Did You Know?

Average Shot Length = 10 secondsSee more »
Continuity: When Higgins lounges across a chair while singing "An Ordinary Man", his right arm is draped over the back of the chair. The scene cuts to a close-up, and his arm is suddenly across his chest.See more »
[first lines]
[sounds from crowd, occasionally a word or phrase, indistinct and mostly not associated with a character]
Mrs. Eynsford-Hill:Don't just stand there, Freddy, go and find a cab.
Freddy Eynsford-Hill:All right, I'll get it, I'll get it.
See more »
You Did ItSee more »


Is 'My Fair Lady' based on a book?
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1 out of 1 people found the following review useful.
a humdinger emblazoned with sparkling gender politics and chipper euphony., 15 September 2017
Author: lasttimeisaw from China

Fairly speaking, vintage Hollywood musicals don't age well thanks to their tie-ins with ingrown fluffy affectation and sound-stage-bound artificiality, which doesn't see eye to eye with the surge of an ever-finicky/skeptical modern audience. But mercifully, MY FAIR LADY, George Cukor's Oscar BEST PICTURE title-holder, still can hold court and rivet viewers through its lilting numbers, tableaux vivants par excellence, and a barnstorming cast headlined by Audrey Hepburn and Rex Harrison.

Cashing in on the popularity of George Bernard Shaw's stage play PYGMALION and its subsequent musical iteration from Lerner and Loewe, this film adaptation is first and foremost, a well- intention-ed crowd-pleas-er and takes no prisoners in flagging up its swagger and grandeur, both interior and exterior, the story-line pits a cockney flower seller Eliza Doolittle (Hepburn) against Prof. Henry Higgins (Harrison), a misogynistic scholar of phonetics, who boasts that under his tutelage, within a six-month stint, he can transmogrify Eliza into a bona-fide duchess, to be presented in an embassy ball.

Making allowance for Henry's make-up, he is way too snobbish to rope "that filthy, silly girl" into the deal, so it must be Eliza, who takes up the gauntlet of her own accord, with an impetus of bettering herself which attunes with the Edwardian time, when suffragettes are spotted parading on the streets of London. Abetted by Colonel Hugh Pickering (Hyde-White), Henry's new acquaintance and a kindred spirit in phonetics (who also implausibly and conveniently, co-habits with the pair in Henry's abode, indeed, their male bonding will grow chummier as a cross-current of the central gender spar, and reach its apogee in A HYMN TO HIM, WHY CAN'T A WOMAN BE MORE LIKE A MAN), a bet is struck and this folie-à-trois segues comically and tunefully through many mishaps and frustrations until Eliza magically expunges her cockney accent in THE RAIN IN SPAIN, under the spell of a patriotic rhetoric from Henry, and then is thrown into elation through Eliza's I COULD HAVE DANCED ALL NIGHT, alas! The biggest hindrance has been officially conquered!(suspended disbelief is critical to countenance this deus ex ma-china, subtlety and logic is given a wide berth here.)

A leitmotif is the paralleled contrast between the transformation of Eliza, her appearance/utterance along with her inner state elevated by it and the intransigence of Henry, who habitually treats Eliza as a guinea pig, and takes her efforts for granted, the climax comes not in the palatial ball, but after, when a simmering Eliza lets rip to a bemusing Henry, who still has no clue why she suddenly blows a fuse on their (him and Pickering's) triumphant night, what an exasperating pedantic and egoist bore! Serendipitously, what trenchantly tones down Henry's defective persona is Mr. Harrison's invigorating elocution and a left-field approach of doing his numbers by speaking his lines in a singsong tone, pertinently deadens the schmaltzy impact of the material (I'M AN ORDINARY MAN) and leavens the hoary template, in the end of the day, Henry is the one who has learned a lesson, however unmerited he is, it is a cracking exemplar of a none-too-pleasant character salvaged by a transcendent show-stopper.

Needlessly to say, being dubbed in a musical by a splendid belt-er (in this case, the unsung star here is Marni Bixon) takes the shine off an otherwise wholesome and majestic performance from Ms. Hepburn (who replaced Julie Andrews from the original musical play, ironically the latter won an Oscar the same year for MARY POPPINS while the former was given a cold shoulder early in the nomination stage, albeit the movie was being doled out a magnanimous twelve nominations including that vexatious coattail one for the venerable Ms. Gladys Cooper, who is barely present and given nothing remotely concrete to act), not in her prime though (she was 35-year-young to play a 21-year-old damsel), her portrayal of a girl's metamorphosis through her manner, accent and inward orbit is magnificent and isn't being eclipsed by her gorgeous wardrobe and millinery accouterments, her Eliza is a full-bodied character rising above her rite of passage as a winner refusing to take the short end of the stick (although the ending predictably but gingerly winks at a compromised happy-ending).

Stanley Holloway steals the limelight with his own voice in two merry pieces (WITH A LITTLE BIT OF LUCK and GET ME To THE CHURCH ON TIME) as Eliza's bullheaded father Alfred, and is granted with a hard-earned Oscar nomination (au contraire of Ms. Cooper); a young, handsome and debonair Jeremy Brett (also dubbed in his singing by Bill Shirley) is a commensurate match for Ms. Hepburn, and a genteel Wilfrid Hyde-White drolly slums it in the singing-and-dancing sequences but captures an air of lassez-faire pulsating mostly on the sideline of this humdinger emblazoned with sparkling gender politics and chipper euphony.

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