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I have read in a great many places (including the IMDb) that Henry Higgins
is a misogynist. It has also been said that the film is a misogynist's
fairy tale. Anyone saying this has clearly not watched this film too
First, Higgins is not a misogynist. A misogynist hates women. What Higgins is, in reality, is a misanthrope. A misanthrope basically dislikes and distrusts everyone! Watch the film and you'll notice that Higgins treats everyone with the same disregard-Col. Pickering, Eliza's father, his own mother-everyone receives his rather cynical disdain. Some of the minor characters come off being treated worse than the principals do. It's simply more noticeable with Eliza because it's more frequent, it's newer with Eliza because the other principal characters have known Higgins longer and thus take it in stride. The myth that Higgins is a misogynist is perpetuated by the song, "Why Can't A Woman Be More Like a Man?".
Second, it can hardly be called a misogynist's fairy tale. If that were the case, I doubt Alfred Doolittle would have cause to sing, "Get Me To the Church On Time", as he'd hardly be getting married. His life is just as "ruined" as Eliza's by his encounters with Higgins, just as altered as her life has been.
This is a great musical, a good movie and it was even better as the original play by Shaw. Well worth seeing. Recommended.
*** This review may contain spoilers ***
Audrey Hepburn is radiant and touching as the poor flower seller Eliza
Doolittle who challenges her mentor's makeover powers, before
eventually passing for a lady in London society... She is skillfully
transformed into an elegant lady by a speech professor Henry Higgins
(Rex Harrison) and taught to speak properly... From first frame to
last, the film is slick, graceful, gorgeous to behold, with costumes
and sets richly evoking the Edwardian era...
'My Fair Lady' begins in London, on a rainy evening outside Covent Garden, where a 'respectable girl' is selling bouquets of violets... Professor Henry Higgins, a phonetics and linguistics expert, confronts the 'deliciously low so horribly dirty' Eliza Doolittle for the first time...
In the best tradition, their first songs reveal their characters: 'Wouldn't It Be Loverly?' expresses Eliza's own ideas of what she dreams, while in 'Why Can't the English Learn to Speak' Higgins sings his despair over the deterioration of the English language, and displays his hard, irritable, intolerant, and elegantly arrogant nature...
Lerner and Loewe's songs are shear delight as the story moves from Higgins's wager with sympathetic Colonel Pickering (Wilfrid Hyde-White) that he can change the street girl with a strong cockney accent into a different human being by teaching her 'to speak beautifully' and pass her off in an upper class lady within six months... Higgins and Pickering are both single men, and the housekeeper, Mrs. Pearce, has misgivings about the way in which they are proposing to amuse themselves without caring about the consequences for the "common ignorant girl."
The songs are extraordinary in their ability to enrich our knowledge of the characters... Higgins' early song 'I'm an Ordinary Man' confirms that he is a 'quiet living man' without the need for a woman... Alfred Doolittle's 'With a Little Bit of Luck ' not only states his general philosophy of life, but exposes the perfect portrait of a friendly scoundrel... Eliza's father, who calls himself one of "the undeserving poor" is one of Shaw's best comedy creations... When he arrives to protest at the immorality of Higgins and Pickering treatment of his daughter, it soon becomes clear that he just wants to gain something for himself out of the situation... Eliza, becoming subject to Higgins' intimidation, belts out her discomfort at the rude, selfish Higgins, imagining a king ordering his death, in "Just You Wait, 'Enry 'Iggins."
The music is also a logical extension of the characters' feelings... When Eliza finally pronounces impeccably: 'The rain in Spain stays mainly in the plain,' Higgins can hardly believe what he has heard: ('By George, she's got it. Now once again, where does it rain?'), and Eliza ('On the plain! On the plain!') and Higgins simply cannot be contained ('And where's that soggy plain? ') Eliza responding: In Spain! In Spain! They sing a duet together to celebrate their success... The scene leads to one of the most triumphant sequences in musical history...
Further, the stunning scene in which Eliza Doolittle appears in high society when she meets Higgins's mother (the impeccable Gladys Cooper), and attends the Ascot races... She instantly charms a young admirer Jeremy Brett (Freddy) by her slightly odd manner of speaking, who later haunts Higgins' house ("On the Street Where you Live").
The climax comes at the Embassy Ball, where Higgins' protégé, now "an enchanting young lady" charms everyone with her beauty... Her exercise is an unqualified success... Her waltz with the Queen's son, and other dance partners, spreads throughout the audience about her identity...
Henry and Pickering are ecstatic... They congratulate each other for their "glorious victory," ('You Did It'), but Eliza is hurt and angry at being ignored... They barely acknowledge her presence... She is no longer a part of any world... When Higgins returns for his slippers, which he has forgotten, Eliza flings them angrily at him, and voices her feelings: 'Oh, what's to become of me? What am I fit for?'
In an attempt to find her true identity a frustrated Eliza encounters Freddy who declares his love for her, but she returns to the populated flower market outside Covent Garden, where no one recognizes her... Her own 'miserable' father - tuxedo-dressed - gives her the cheerful news that he is about to get married...
In the closing scenes, Higgins is upset to discover Liza has left him and is led to wonder why 'can't a woman be more like a man? Men are so honest, so thoroughly square.' Eliza surprises Higgings with her decision to marry Freddie, and claims: 'I shall not feel alone without you. I can stand on my own without you. I can do bloody well 'Without you!'
At his home, at dusk, Higgins ultimately recognizes Liza's quality... He recalls Liza and realizes how much she has come to mean to him... Without her, he is lost and lonely...
The climax is a great ending to a great musical...
'My Fair Lady' has great style and beauty... The film describes what is common in many societies... That accent determines the superficiality of class distinctions... The motion picture is humorous, notably the wonderfully steamy bath in which Prof. Higgens' female staff cleanses the accumulated dirt of the street off Eliza Doolittle...
With the dazzling splendor that director George Cukor offers: the designer's eye for detail, the painter's flair for color, the artist's imagination, and the delicacy of handling, the film garnered no less than twelve Oscar nominations, and took home eight statuettes including Best Picture of the year, Best Actor- Harrison, Best Director- Cukor, as well as Best Art Decoration, Sound, Scoring, Costume Design, and color Cinematography...
There's a lot of negative things been said about Audrey Hepburn's
interpretation of the role of Eliza. Perhaps she's not ideal in the
scenes of the movie - her "dirtiness" is never quite believable - but it
to be said that despite this smallish drawback she still glows, and makes
amazing Eliza overall.
The reason for this is simple; Audrey Hepburn brings her "own spark of divine fire", (to quote Higgins) to the role and her vulnerability, mixed with her sweet, naive charm and even her wonderfully juvenile pettishness shown in "Just You Wait" all prove what a talented actress she really is. For an example of this, just watch Eliza's facial expression at Ascot, when she realises her opportunity to demonstrate her new-found mastery of the English tongue - sweetly hilarious.
MFL has been criticized as being too romanticized, too overblown. I disagree; musicals are suposed to be lavish affairs, and none pull it off quite so well as "My Fair Lady" does. It's a momentous film but it has its subtle points: watch the way in which Eliza's eyes are centred on Higgins when she enters at the ball, and the way in which the two of them stare at each other for a few seconds at the top of the stairs a few moments later.
It musn't be overlooked that, thanks to its being based on a Bernard Shaw play, "My Fair Lady" has what the great majority of musicals lack: a deeper meaning and something really quite profound to say.
The actor in the role of Colonel Pickering is a little weak, but it must be said that Rex Harrison IS Henry Higgins. In a lot of ways (in fact, in most ways) Higgins has an objectionable personality: rude, snobbish, impatient and even misogynistic, but somehow Rex Harrison pulls it all off and makes us like Higgins without betraying the character. As to romance, his song "I've Grown Accustomed to Her Face" is an ode to the kind of love which sneaks up on you. Overall, this movie is romantic, but not too sentimental. It has just enough romance to be dramatically fulfilling, but it never becomes soppy or mawkish. The word "love" is never mentioned at all and the two leads never even kiss. The famous end sequence is perfect and does the movie justice; after all, a big happy bow tied around a perfect romance at the end would simply not fit with everything we have learned about the two protagonists.
Now, what do we call someone who judges other human souls by what clothes they wear, whether their subjects and verbs agree, who they know and what their houses look like? That is right: a shallow, pretentious, snobby philistine. What bothers me is I have to explain this. See, I do not care how many books they put behind him it no more makes him an intellectual then rows of pizza boxes behind me transform me into spaghetti. The man is an misogynistic, pedantic, arrogant fool. Two openly women hating songs that if released today would result in the studio be sued into penury. Gee, think of all the losers who would fail his criteria: Gandhi, Christ, Buddha, Beethoven, Einstein, Edison, you know a bunch of losers according to Higgins. Did everyone enjoy seeing Eliza stalked by that fop in the top hat to the tune: On The Street Where I Get Arrested? There also is the hilarious song about abandoning your wife and children, and being a worthless, drunken bum your whole life. See, words mean things, occasionally get the wax out of your ears and open the dictionary. I swear these imbeciles would adore We Stole Your Money, Idiots, if it came with a catchy tune with lots of woodwinds.
You are kidding me; those painted up fossils, barely conscious, dressed up like draperies with bad hats; those are your paragons you aspire to be? Please, pick other role modes. Did you hear their conversation, how stimulating!! They are and they always shall be the vapid, brainless fops and dames who evoke laughter in all who behold them. I have a brother like this; I do not speak to him, what an embarrassment! Life is not a game of dress up; please, grow the hell up and accomplish something of merit. No, Eliza if we dropped you in that lap of luxury you lust for you would be bored out your mind in two hours. As Arthur Schopenhauer teaches life is a pendulum between need and boredom. All wealth is internal; it cannot be made material and then interiorized, please. No, It Wouldn't Be Lovely. The movie is worthwhile, it teaches one great lesson: How Not To Be.
Look at our teacher, tied to his mom's apron, apparently still breast feeding, lecturing others about his vapid norms of compensation so he can feel better about being such an effeminate, little boy. This is your model: who would heed a word this fool babbled? What because he is wealthy? The intelligence to have or make money is quite separate from knowing what is of value and what is worthless, that is the purview of philosophy. The movie is long beyond belief; it feels like a whole day. You will be submerged in the world of vacuous, superficial snobs who aspire to speak as if they have suffered massive strokes and dress like lampshades. My header captures them quintessentially; existential cotton candy, it evaporates in your mouth. There is nothing there but an empty stage show of compensation for internal poverty.
If you enjoy having an emaciated, bad acting, sack of bones screech out her vowels whilst an effeminate, pedantic, pretentious mama's boy trains her to resemble a walking drapery; hey, congratulations you have found your movie. Believe it or not existential moral evaluation of other human beings should be predicated upon their deeds not their dress or speech. Q.E.D.
I bought this at a yard sale in 2013, kept putting it off thinking,
"Aacck! Look how long it is! Singing and wacky accents! I should call
the dentist and see if he can bump up that root canal!" I finally
slapped it on...and I loved it! Rex Harrison's way of sing/talking,
perfect! My favorite character: Colonel Pickering. Wilfred Hyde-White,
that guy was great, a real scene stealer.
Never before understood the allure of Audrey Hepburn...until now! Yeah, I'd seen Sabrina, Breakfast at Tiffany's and Wait Until Dark, all many years ago. Maybe too many years ago, now I have a greater appreciation of classic movies. She's absolutely adorable in this movie, and that one scene when she walks out dressed for the ball...jaw, meet floor! Surprised I knew half the songs already. But it has been around awhile, plenty of time to become an iconic musical. It was great, check it out if you can.
Maybe it wasn't the right mood I was in, or maybe not seeing it in its
intended MASSIVE theatrical presentation on 70mm *Super* Panavision
(the kind that The Hateful Eight was shot in, to give an idea of the
rarity of its stock), or maybe I wasn't in the mood for a shrill
musical where the songs weren't to my liking, but this is one of those
classics I just didn't get. I don't want to take this away from you if
you love it or think you'd be in for this experience that is Alan Jay
Lerner adapting George Bernard Shaw with Audrey Hepburn and Rex
Harrison in two of their most identified roles (this isn't to say best
or not best, just that when you think of them this has to pop up). And
there are a couple of good things I can say about it, which I'll get to
later on here.
But I wasn't having the first hour of this at the least, where Hepburn is Eliza Doolittle (no relation to the doctor later played by Harrison, unless that was some intentional coincidence I didn't get), and she is a flower girl (basically a girl of the street, except not a prostitute), and Hepburn plays it with an obnoxious accent. It could all be in the writing from Lerner and the collaborators, but I think Hepburn can be taken to task too. I think I read she thought she was miscast, and she was probably correct - this needed a stronger, younger woman in the role who could play younger AND older with conviction, and Hepburn can do the latter but not the former so much. When she sings she's fine, but with the exception of the flagship song, "I Could've Danced All Night," the songs are prattling, talking too much in song, just... ugh.
Rex Harrison is fun as Higgins - maybe he could've played this in his sleep, but he still is trying, and that's appreciated - but Higgins is also a character who is a fairly outspoken misogynist, and this dates the movie. I get how it seemed probably at the time, and I had a couple of chuckles at his blustering, but by near the end of the story he hasn't really changed that much as a character. Even if he sees Eliza differently, as not the flower girl but as a real "woman" who's main attribute is fighting back and standing her ground, will he see other women the same now? Is this change only about his attraction and desire for her (whether it's chaste or not), or is it all shallow, like a lot of this movie may seem to be? I know the song about 'Why can't a woman be more like a man" is meant to show how out of it he is, but it's not enough, at least for me (even if, again, Harrison tries to sell it his 'upper-crust' British best, seriously, he's the best thing about the movie).
Sure, the movie is pretty - Cukor and Warner didn't spare much expense with this (okay, maybe a little, but it's not a story that requires the fx of Mary Poppins or Sound of Music's epic scope - and that is something else I can give it, up to a point. But I think that concretely I just couldn't get into it as a musical. I didn't enjoy the song as much as I should've or thought I would, and while a couple are fairly catchy (the song the men sing in the street, "With a Bit of Luck", is tolerable), for many of the songs I felt myself biding my time until they were over. Comparatively to Poppins again, as both were from 1964, this doesn't fare or age as well as a musical either.
Again, if you like the songs then more than likely you'll dig the movie. If this review is for anyone it's people on the fence unsure whether a movie musical that was based on an earlier play (which I remember reading in school but vaguely and then got remade as She's All That, which... okay, My Fair Lady at least makes more *sense* than that does when it comes to transforming its female creature for a bet). Despite how a few scenes do have their moments - when Eliza does sort of 'break' from character that she's just cracked with some elite people at a horse race, that's amusing - it's bloated at 3 hours, and in its way kind of portends the more rancid musicals to come in the late 60's.
And, lastly, as a story of class distinctions, it's... okay. You know how it's going to end up, mostly, especially as this is deeper down a romantic comedy as much as a musical. But, except for one emotional scene between Eliza and Higgings after that big regal reception (and after a musical number where, wisely cinematography-wise, she's in the background of the room) that does hit its mark well as far as how far apart these people are, I just... well, I just didn't care so much. If it does, then fine! If not, I feel for you!
A professor of phonetics, Henry Higgins (Rex Harrison) wagers that he
can pass cockney street urchin Eliza Doolittle (Audrey Hepburn) off as
a sophisticated lady. Higgins is a confirmed bachelor, and
misanthropic, especially when it comes to women, and his interest in
Eliza is purely professional. However, while she is the one who is
supposed to be changing, he seems to be changing too, and falling for
Wonderful musical. You won't hear me say that often, as I generally dislike musicals. My Fair Lady is different, however. The music blends seamlessly into the dialogue, the music advances the plot, rather than just acts as padding and the music is good, giving the movie a suitable lightness and energy.
Good plot too and some great performances from Audrey Hepburn (though that's a given) and Rex Harrison.
Won the 1965 Best Picture Oscar.
*** This review may contain spoilers ***
"Your ending is damnable; you ought to be shot!"
So boomed George Bernard Shaw, upon witnessing the ending of Pygmalion, his slashing satire of class and gender disparities, changed from its original intent. In Shaw's words, leading lady Eliza Doolittle ended the play by proudly walking out on Professor Henry Higgins, her sneering tutor. To Shaw's chagrin, subsequent performances had twisted the climax into a more populist, albeit disingenuously romantic, 'happy ending.' Flash-forward forty years, by the time My Fair Lady, the filmic revival of the now beloved Broadway musical, was released, audiences would have expected nothing less. And yet, for a show heralded as "the perfect musical," it's startling how, nostalgic haze aside, how many of the film's attributes have aged poorly to the point of being resoundingly un-fair - none the least, that 'damnable' ending itself.
This isn't to say that the film is worthy of the kind of lambasting Higgins bestows upon Eliza, upon first glimpsing her in her unrefined, working class inelegance (ahh, romance). Granted, for one of the defining directors of the Classical Hollywood screwball era, George Cukor's work here is thoroughly sleepy, with the skeletal plot lumbering along with such an unhurried dopiness that an hour could easily have been shaved off the running time without batting an eye. Even the songs, unforgettably catchy as they are, are staged with an oddly docile tentativeness. Even the most iconic tunes come across as shy and tentative rather than the lively vivaciousness they warrant.
Where Cukor really perks up is in mischievously digging into the show's social critique, lambasting English high society's priggish, disinterested disdain for the less fortunate with gleeful abandon. Sure, the endless montages of Higgins' antiquated speech language pathology turned sadistic psychological torture bring their share of comedic relief, but the film's brightest, most engaging moment is its central horse race scene, where droves of virtually sleepwalking society men and women raise and lower their opera glasses in synch like cows chewing their cuds, just waiting to be shaken up by Eliza Doolittle's feisty bull in a china shop. Similarly, Cukor spares no expense in costume and set design, as the two diametrically opposed social stations - the grungy London ghetto and prim society balls - look gorgeously, spectacularly vivid in their own respects. Tranquilized execution or not, there's no denying the film's 'loverlyness,' and it carries enough charm to keep afloat, especially when punctuated by welcome moments of acrid, Shawsian wit.
Ah yes - but then there's that romance, boldly paving the way for decades of romanticized unhealthy relationships in a way that even Grease's 'change everything for your man!' climax would shudder at. It's certainly no fault of the performers. Hepburn herself is an absolute effervescent delight, as Eliza's course roots allow her to gleefully cast off her tried and true airs of consummate elegance with a hysterical, sparky firebrand of a performance, Monty Python cockney accent and all (it's a shame she wasn't allowed to contribute her own singing, as the unnecessary dubbing during musical numbers is detrimentally distracting). Similarly, Rex Harrison's nimble elocution and pristinely condescending eyebrows light up Henry Higgins' monolithic misogyny with a sneering charisma that makes him distressingly hard to hate, even at his most loathsome.
In fact, therein lies the film's most unshakeable concern: Higgins is so farcically abhorrent to Eliza throughout that it's impossible for his third act romantic about-face not to play as just as grotesque, abusive and controlling. Different direction or actor interpretation could have teased out nuances of redemptive shame in Higgins' transformation (there's even an arguable undercurrent of Higgins as a closeted homosexual fighting for societal or matriarchal validation through heteronormative normalcy - "Why can't a woman be more like a man," anyone?). Instead, Harrison plays him as so deliciously, unrelentingly despicably throughout that we're eager for him to get a colossal comeuppance, not a simperingly happy ending. Seldom has so sharp and sweet a film ended on such an uncomfortably false note - even Hepburn's face and body language are saturated with this uneasiness in her purportedly cute final appearance - and it can't help but taint the entire film as consequence. Loverly 'dis ain't. Guaarrn.
This isn't all to say that your childhood is ruined, and My Fair Lady is an unredeemable write-off - it's fun, frilly, and peppered with moments both delightful and dastardly witty. Still, contemporary gender politics haven't been kind to this one, and it's important to contextualize how uneasy and unsatisfying a watch the film is amidst its many delights. We've grown accustomed to its face, but that shouldn't excuse the scowl it works hard to hide under its prettiness.
*** This review may contain spoilers ***
I watched this movie with a lot of reserve, since I am not a fan of
musicals and old movies. "My Fair Lady" forced me to expand my views
and start watching more movies from this genre. But this will stay one
of the best musicals ever! Didn't like the way it ends, although I
understand that this is classic ending.
Audrey Hepburn is just amazing and loud. Rex Harrison, in this movie, is simple natural misogynist. Alfred P. Doolittle was annoying, especially when he took money from Professor Henry Higgins.
Audrey Hepburn is denied Oscar, she wasn't even nominated, although this movie claimed 8 Oscars and was nominated for four more.
George Cukor's "My Fair Lady" is as close to auteur cinema as "Baby
Geniuses" to "The Godfather", nothing remotely ambitious on the field
of philosophy, religion or any form of abstract thinking, but I'm still
using a word (one I personally hate) to describe it: it is a
pretentious film. As intellectually vacuous as it is, it is pretentious
in the sense that it takes a sweet, enchanting story, made of charming
and engaging characters, and drag on for almost three hours for a plot
requiring one hour less. This is a case where a little less would have
been a lot more.
"West Side Story" was longer but its fast-paced rhythm and the catchy songs actually drove the plot instead of slowing it down, "The Sound of Music" felt a tad long, but it had a rather dense plot, while "My Fair Lady"'s can be summed up into a spot-it with a marker. It is about linguist Professor Higgings meeting a vulgar flower girl named Eliza Doolitlle and after months of training, he turns her into a lady, in the process, he falls in love with her, although he refuses to admit it. But in the end, they get together, bada-beep, bada-boom. There are a few subplots but they are merely dressing, the piece of resistance is what everyone remembers.
Now, I'm not criticizing the conventional fairy-tale aspect of the story, but it was two-hour material, plain and simple. No, they had to stretch it to three hours, with the obligatory intermission. Obviously, they knew they had a Best Picture contender so it had to pretend to be as epic as "Lawrence of Arabia", "West Side Story" or "Tom Jones". So it takes like half an hour for the film to take off and basically, each significant moment is interrupted by a musical interlude, I liked the "With a Little Bit of Luck" song but what did it have to do with the story anyway? Apparently, we were supposed to enjoy it and that was enough a reason.
The film actually makes me question the appeal of musicals, why should people singing and dancing together be an entertaining sight? My guess is that it was the taste of the time, and people loved to enjoy in theaters what they could see on the stage, or maybe it was the star-system and Audrey Hepburn and Rex Harrison were the kind of offers one couldn't refuse. But I'd rather have that sirtaki in "Zorbas" or five minutes of "Dr. Strangelove" than any of these tiresome musical acts, at least these films had something to show, even "Mary Poppins" had animation, I'm afraid "My Fair Lady" had a rather thin plot with music used as fillers,
It is a difficult-to-review film because I'm not really even interested in reviewing it, it is even based on a lie, that Audrey Hepburn could be believable as a crass girl, it's like imagining Grace Kelly playing a prostitute, there's nothing such as limited range, but we know Hepburn can only "act" her way through a character like Eliza Doolittle and gets easier to handle once she becomes the classy woman she's always been, that ugly duckling thing couldn't fool anyone, and if she didn't overact, she way overdid her accent. Rex Harrison, as annoying as sexist as he was, was pretty convincing as Higgins but the whole relationship rang abominably false. It is supposed to be a love story but most of the time, these two keep snarling at each other, they couldn't even exchange one lousy kiss at the end, I know it's all about subtext, but still.
Still, this film worked and became one of the all-time box-office successes, an event by itself, one I would never get. And don't get me started with the Oscars. Granted the film won the Best Costume, Art Direction and all the categories you'd never remember the names, but Best Picture? Best Director? What makes Cukor's directing so exceptional? Is it more difficult to direct a film like this than "Strangelove"? The 60's used to reward cinematic excellence but art shouldn't be made at the expense of a story, and it's only justice that "Dr. Strangelove" is more celebrated today than "My Fair Lady". And if you want an excellent romance with Audrey Hepburn, take "Roman Holiday" or "Sabrina".
There's one thing I enjoyed though, it was the Bonus features and I was more interested to see Rex Harrison being natural and Audrey Hepburn as sweet as usual, I thought to myself, I don't know if younger actors would've been as good, but if the cast had played these parts as naturally, it could have been something. And then there was Jack Warner who, during a press conference, made a remarkable speech about old school Hollywood cinema and wished directors wouldn't try to copy European filmmakers, you could tell the disdain in his tone, well, he was right in foreshadowing the end of the studio system (and even in the interviews, the productions costs were a matter of discussions), these costly musicals almost bankrupted the studios, because for one "My Fair Lady", you had a few disasters.
The film marks with "The Sound of Music" the swan songs of an era , the time for better movies were to come, and it's extraordinary to believe that the film was only two years before "Who's Afraid of Virginia Woolf" and three before "Bonnie and Clyde" and "The Graduate". Being a hardcore New Hollywood fan, a production like "My Fair Lady" could only make me feel cold, I'm not even sure this will be a review I'd love to read again once.... but I'll end with a piece of advice, you want to see it? Fine. Be sure you're doing something at the same time, otherwise, time will feel painfully long.
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