MY FAIR LADY (1964) – A lively “classical” movie musical

MyFairLady

(WARNING: Major spoilers abound!)

My Fair Lady won the Oscar for Best Picture of 1964 — deservingly so, and I say that as a huge fan of The Beatles’ A Hard Day’s Night, which came out the same year and wasn’t even nominated. Film history tells us that the Beatles film was a beloved influence for generations of moviemakers to come, while the former film was one of the last gasps of the “classical” movie musical.

But My Fair Lady is certainly nothing to sneeze at. It too seems to have influenced some filmmakers. (Think of Woody Allen’s Annie Hall or Richard Gere in Pretty Woman, with male leads who condescendingly “educate” their women and then discover that the women have minds of their own.) And like the flowers that poor Cockney girl Eliza Doolittle (Audrey Hepburn) tries to peddle for a meager living, My Fair Lady has subtle joys that spring forth from out of nowhere.

The story — musicalized from George Bernard Shaw’s play Pygmalion — is that Henry Higgins (Rex Harrison), a self-satisfied bachelor and phonics professor who bets his sidekick that he can take a nobody and turn her into a high-society woman. Enter the nobody: Eliza Doolittle, asking to take phonics lessons.

Of course, turning a low-life into a dandy isn’t precisely what the movie’s about, though it has a lot of fun with this plot point. The trouble — for Higgins, at least — begins after he succeeds at his quest and then belatedly discovers that Doolittle has more on her mind than just remaining Higgins’ trophy.

And small wonder — Doolittle’s own dad Alfred (the delightful Stanley Holloway) hasn’t exactly been a male role model for her. In fact, Alfred’s two great numbers — “With a Little Bit of Luck,” about his best efforts to escape work, and “Get Me to the Church on Time,” about his resignation to marriage — are a story of male ego run amok in themselves.

That’s probably why My Fair Lady is still so enjoyable — because everyone in it has a story. (Observe Higgins’ petulance in the brief scene where he’s humbled by his mother, who immediately takes Eliza’s side in the ongoing argument.)

In its own way, My Fair Lady is as radical as The Beatles. Rex Harrison wasn’t much of a singer, so he “talks” his way through the movie’s songs, creating a song style of his own. And Audrey Hepburn’s singing voice was dubbed by the famous Hollywood “alternate” Marni Nixon (who also sang uncredited in the movie version of The King and I).

But Harrison and Hepburn’s grin-inducing performance overcome all impersonalities. And with the movie’s 30th-anniversary restoration, it’s as much a delight to look at as to listen to. My Fair Lady is a prime example of the kind of movie “they don’t make like that anymore.”

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