A Few Words About A few words about...™ My Fair Lady (Take Two) -- in Blu-ray (1 Viewer)

[moviebuff75]

I will take suggestions for my pre-show...or just start with the Overture as the sun goes down?

 

[Dick]

Well, it is obvious that most members here are finding the MFL upgrade simply awesome, and I concur wholeheartedly. I have a history with this play/film. My father took the family to a fancy restaurant in New York City in 1959 or 1960, after which we were going to see the Broadway production (not with Harrison and Andrews, alas, as they had left the cast a while before). Dad was panicked when, putting on his overcoat, he discovered the theater tickets were missing! Had a manager not brought him the envelope that had been found on the floor -- within a half-hour of show time -- we'd never have made it by curtain time. I loved the play, and went through two copies of the original 1956 cast LP during the ensuing weeks (still play the CD often).


In 1964, Dad again gathered us siblings up for My Fair Lady, this time for a trip to the nearby Mt. Kisco Theater for a showing of the film (35mm, mono sound, but hey, it was local). I was prepared to like it as I had the play, but found myself fidgeting throughout. Like Bruce K, I just had a hard time with it. For one thing, what I was hearing onscreen were quite different renditions of the songs I had memorized note-for-note on the original cast album, with the exception of Stanley Holloway's pitch-perfect recreation of "Get Me To the Church On Time." In particular, I felt Marni Nixon completely dropped the ball on the passionate and hilarious "Show Me!," which was and remains my favorite song from the score.


I have over the years tried to gain an appreciation of the film adaptation. It's been a struggle. I have bought a copy of it in every video format except Beta and CED (I had the laser disc), and have watched it through each time, still unable to warm up to it.


However, and Kudos to Mr. Harris and the crew that prepared this latest Blu-ray, I finally watched the film with a big smile on my face through most of its 3-hour running time. The tack-sharp image, incredible edge-to-edge Technicolor saturation (unlike that of the first Blu-ray) wonderful contrast, fine, visible grain, dynamic sound, all of this made it possible for me to appreciate Audrey Hepburn's full performance (whereas before I'd only thought she was "okay" in the second half). I've heard worse Cockney since she struggled through hers, and for Hepburn the role was a stretch. But, even truer now, with such great image and sound, she really bursts out beginning with the hilarious and satirical Ascot Opening Day sequence. And there are moments later on in which she is genuinely touching, and you absolutely feel for her as she gradually realizes she is being used by the man she is falling in love with, a pompous ass pulling her puppet strings for his own self-satisfaction.


So, this post is a big thank you to the restoration team who have made it possible for me to like...really like...My Fair Lady on film for the first time in 50 years. I actually look forward to watching it again with a small audience at home sometime time in the near future.


Hats off with a deep bow, everyone!

 

[Dr Griffin]

There are no problems with West Side Story. It's owned by MGM, and the original negative is pristine.


RAH

And there are chickens running around the studio laying golden eggs.

 

[KPmusmag]

I saw MFL yesterday at a Cinemark theater in Las Vegas. It was wonderful, with two caveats. First, it was in the very smallest auditorium, and secondly, it was shown with no masking, so it had that letterboxed video look. That being said, I was very pleased otherwise and it was definitely the best screening of its kind I have seen.


Despite the letterboxing, the image stretched from end to end of the screen - I was worried, because the preview for Oklahoma! was windowboxed, but once the feature started it opened up. After a few minutes, I really felt like I was watching film, and I felt a bit like I was back in time. For the first time at one of these screenings, I thought that the sound was wonderful. Stereo with surround, and I thought the directional dialogue was very effective, despite the small screen size. The image was amazingly clear and beautiful. When I got home, I immediately put the Blu-ray on my projector and was very pleased to discover the image was virtually identical to my eye. At home, I do play the sound a bit louder than they did at the theater.


The audience numbered about 25, and there were quite a few young people, which I found gratifying. (But I am just certain that there would be bigger houses with better promotion.) There was appropriate laughter and light applause at the end.


I can not say enough that I LOVE LOVE LOVE the intermission countdown. Also, there was an announcement just before the feature starting informing the audience that there would be an intermission. The house lights were, frankly to my surprise, timed appropriately.


(I must add that the preview for Roman Holiday looked HORRIBLE. I am hoping that the real thing will be a better image.)

 

[Rob_Ray]

I saw MFL yesterday at a Cinemark theater in Las Vegas. It was wonderful, with two caveats. First, it was in the very smallest auditorium, and secondly, it was shown with no masking, so it had that letterboxed video look. That being said, I was very pleased otherwise and it was definitely the best screening of its kind I have seen.


Despite the letterboxing, the image stretched from end to end of the screen - I was worried, because the preview for Oklahoma! was windowboxed, but once the feature started it opened up. After a few minutes, I really felt like I was watching film, and I felt a bit like I was back in time. For the first time at one of these screenings, I thought that the sound was wonderful. Stereo with surround, and I thought the directional dialogue was very effective, despite the small screen size. The image was amazingly clear and beautiful. When I got home, I immediately put the Blu-ray on my projector and was very pleased to discover the image was virtually identical to my eye. At home, I do play the sound a bit louder than they did at the theater.


The audience numbered about 25, and there were quite a few young people, which I found gratifying. (But I am just certain that there would be bigger houses with better promotion.) There was appropriate laughter and light applause at the end.


I can not say enough that I LOVE LOVE LOVE the intermission countdown. Also, there was an announcement just before the feature starting informing the audience that there would be an intermission. The house lights were, frankly to my surprise, timed appropriately.


(I must add that the preview for Roman Holiday looked HORRIBLE. I am hoping that the real thing will be a better image.)

Everything you say also applies to the screening yesterday in Huntington Beach, CA. The sound could have been a bit louder to add some punch, but every word could be distinctly heard. I too like the countdown, as it leaves the guesswork out of how much time you have.


But I must say I hate the improper masking so commonly seen now with digital projection. That, coupled with the ads, no curtain and no overall showmanship have sadly led me to conclude that I might just as well watch these things at home or at friends' sophisticated home theatres where showmanship is taken more seriously. I'm not rushing to see ROMAN HOLIDAY or OKLAHOMA! for that reason. And, yes, the trailer for ROMAN HOLIDAY looked horrible.

 

[KPmusmag]

But I must say I hate the improper masking so commonly seen now with digital projection. That, coupled with the ads, no curtain and no overall showmanship have sadly led me to conclude that I might just as well watch these things at home or at friends' sophisticated home theatres where showmanship is taken more seriously. I'm not rushing to see ROMAN HOLIDAY or OKLAHOMA! for that reason. And, yes, the trailer for ROMAN HOLIDAY looked horrible.

Yes, I agree totally with how you feel. I am often torn between wanting to show support for these screenings versus feeling that I can have just as good (and often better) experience at home. Whereas in a city like New York or L.A., a screening of a classic film may be at least somewhat common, the fact that I can go to an ordinary theater in my town and see My Fair Lady right next door to Jurassic World is kind of cool, even if the presentation doesn't have the panache I would like. Is a puzzlement! And I still think there needs to be better promotion.

 

[moviebuff75]

My presentation will be better when I show it outside next summer. I will make sure of it!

 

[PMF]

The packaging will scratch and potentially give a razor cut.

I had to get up very early this morning for work.

Damn. I ran out of blades.

And then, in my unconscious waking sleep I recalled this review.

So, I went to my BD library looking for this last resort; even if it was to be a (cough) "Lady" Schick.

Needless to say, I still clocked-in to work with nothing but stubble upon my face.

[sorry, I couldn't resist]

 

[Clark V. Kauffman]

Saw "My Fair Lady" yesterday ay my local Cinemark theater. I have never seen a film that looked this good projected on such a huge screen. The level of detail was simply amazing.


In the scene where Eliza first arrives at Higgins' home, I could see that the little calendar device on Higgins' desk read "December 24" -- which was funny because after just three days at the house, Eliza has that dream sequence in which the king sings to her, "Next week on the twentieth of May, I proclaim Eliza Doolittle Day..." I could also clearly make out the handwritten enunciation exercises Higgins' gave to Eliza to read. (Wonder whose handwriting that was? A prop master?)


The real surprise, however, was in the way this restoration brought to life some incredibly powerful subtleties in the performances, particularly Hepburn's. I don't think I ever really appreciated how difficult her job was in the second half of this movie, where she is -- in some respects -- playing a character who is playing a character. (More specifically, she is playing the role of a guttersnipe who is playing the role of a "duchess.") She really pulled it off. I had a lump in my throat watching the scene where Higgins rushes off to the front door to go to the embassy ball, then stops, goes back, and offers Eliza his arm. It takes a world-class actress to wear the ornate jewelry, hair, make-up and dress Hepburn had on in that scene while still projecting such fragility and vulnerability. The Oscar nomination was deserved for that scene alone, although she barely uttered a word.


By the same token, I never fully appreciated the moment when Higgins first shows her some respect and says, "I know your head aches. I know you're tired. I know your nerves are as raw as meat in a butcher's window. But think what you're trying to accomplish. Think what you're dealing with. The majesty and grandeur of the English language, it's the greatest possession we have. The noblest thoughts that ever flowed through the hearts of men are contained in its extraordinary, imaginative, and musical mixtures of sounds. And that's what you've set yourself out to conquer, Eliza. And conquer it you will." The look in Eliza's eyes -- which one can see clearly now -- communicates so much as she realizes Higgins actually has confidence in her abilities. It's the turning point in the whole movie, and it's so much more powerful now.


What a great restoration. "My Fair Lady" doesn't simply look better now; it actually tells the story better.


Congratulations to all who were involved.

 

[PMF]

moviebuff75 (Post #118):

I wish RAH could work on West Side Story. It needs his loving hands.

There are no problems with West Side Story. It's owned by MGM, and the original negative is pristine.


RAH

But my, oh, my; wouldn't it be loverly to have that 6-Track of "West Side Story" available, up and running, and sounding as magnificent as what you did with the 6-track sound design on "My Fair Lady".

- PMF

 

[Rob_Ray]

Everything is now so clear that I couldn't help spot so many things that we weren't supposed to notice:


That handwritten enunciation guide Higgins gives Eliza reads like a cue-card for Rex. In addition to the Hartford, Hereford and Hampshire exercise itself, it contains his followup lines like "When you say your H properly the flame will waver and when you drop your H, the flame will remain stationary. In time your ear will hear the difference."


As Doolittle leans against the pub wall and says, "There's Eliza!" the preceding master shot of Covent Garden shows Doolittle clear across the stage tapping the Eliza lookalike on the shoulder and her turning around to reveal she's someone else.


As HIggins listens to Eliza's voice in the last scene, we see a shadow of her entering the room on the carpet before the next shot shows her approaching the room itself.

 

[Robert Harris]

Everything is now so clear that I couldn't help spot so many things that we weren't supposed to notice:

That handwritten enunciation guide Higgins gives Eliza reads like a cue-card for Rex. In addition to the Hartford, Hereford and Hampshire exercise itself, it contains his followup lines like "When you say your H properly the flame will waver and when you drop your H, the flame will remain stationary. In time your ear will hear the difference."

As Doolittle leans against the pub wall and says, "There's Eliza!" the preceding master shot of Covent Garden shows Doolittle clear across the stage tapping the Eliza lookalike on the shoulder and her turning around to reveal she's someone else.

As HIggins listens to Eliza's voice in the last scene, we see a shadow of her entering the room on the carpet before the next shot shows her approaching the room itself.

Mr. Allen told us that the shadow was his appearance in the film.

 

[Clark V. Kauffman]

I just may have to go back and see this film again. Most of the Cinemark theaters are showing it one more time on Wednesday, Nov. 4.

What better way to spend an evening?

 

[KPmusmag]

As HIggins listens to Eliza's voice in the last scene, we see a shadow of her entering the room on the carpet before the next shot shows her approaching the room itself.

I have always felt like that was a bit of an editing mistake. We see the shadow move into place, and then we see Eliza walk into that place. It seems like her movement in the shot should be what created the shadow.

 

[Jim*Tod]

I must add my hosannas to Mr. Harris. I just watched the first hour of the MFL disc and was just thrilled. Great sound and image quality... especially thrilling since the local screening here a couple of weeks ago was subpar.


Something I am noticing here as I did with SPARTACUS is the details in the long shots.... shots that were clearly designed to be seen on a huge screen. This was something the large format films did well.


And while I doubt this is an original thought... I think Mr. Harris deserves an Oscar for the restoration work he has done over the years and films he has saved. Wonder how we could make this happen?

 

[willyTass]

That scene where Eliza walks down the stairs in her white gown; didn't look any different to me than the rest of the transfer.

 

[rayman1701]

Watched this weekend (for the first time ever! Don't shoot I've just started to get into musicals over the last year or so) and just wanted to say Wow! What an awesome presentation many thanks go out to Mr. Harris and everyone who put in all of the hours of work into this restoration. Jaw droppingly stunning, picture AND sound, still marveling at the experience of this on an 84" screen with the 7.1 rocking.

 

[PMF]

That scene where Eliza walks down the stairs in her white gown; didn't look any different to me than the rest of the transfer.

I wonder what other incarnations of "My Fair Lady" prints and transfers you have viewed in the past.

I am not being challenging; but, rather, diagnostic; as it would also be of interest to me as to what venue your experience was viewed.

I, for one, would like to address that specific set design from atop the stairway - before the white gown entrance - and onto the foyer leading out to the vestibule and front doorway.

There are two specific aspects in that set, alone, that further exemplifies this stunning restoration.


First:

Always in past viewings I had noticed the easel placed dishes displayed along the upper wall; but when viewing the theatrical 2K presentation, I could actually see for the first time that those dishes had upon them the hand painted designs of London Bridge.

This, in and of itself, was quite remarkable; as I have seen "MFL" in multiple formats, since its initial 1964 release date.


Second:

And then there was the large window found midway up the staircase. In past viewings, it was just a cloudy window; but with this restoration, I was able to see its deliberate intricacies and colors which now fully reveals this window as being that of a hand-crafted stain glassed design.


With these visual references as a foundation, one should fully trust that all else taking place within the various scenes of this set are optimally fulfilled within this restoration; thus revealing all that was originally intended by George Cukor, Cecil Beaton, Gene Allen and Harry Strandling.

 

[ahollis]

I may have missed this Question and answer so I apologize. Does the blue ray also have the countdown clock?

 

[Wayne_j]

The Blu-Ray goes directly into the Entracte music. No actual intermission.