"My Fair Lady" Blu-ray November 15th (1 Viewer)

[kenNew]

While Ben-Hur isn't my favorite movie, Reynold Brown's poster is the greatest ever

I also read recently that Reynold Brown created the Ben-Hur poster but contemporary MGM sources such as the Ben-Hur souvenir book credit all of Ben-Hur's artwork to Joseph M. Smith.

 

[marsnkc]

While Ben-Hur isn't my favorite movie, Reynold Brown's poster is the greatest ever

I also read recently that Reynold Brown created the Ben-Hur poster but contemporary MGM sources such as the Ben-Hur souvenir book credit all of Ben-Hur's artwork to Joseph M. Smith.

http://www.impawards.com/1959/ben_hur.html Thanks, Ken. This site indeed attributes it to J. Smith. Possible that R. Brown had a hand in it, though (concept, design etc.). A hardback of the souvenir book I have (different in some ways to my soft-cover that's a little awkward to get to) attributes the cast studies to Smith ("Drawings of Ben-Hur's Cast of Characters are the work of Joseph J. Smith, native of Philadelphia...." etc.) without any specific attribution to the poster. (I wince when I get to re-read careless remarks I've made. Qualifications such as Ben-Hur not being a favorite are as redundant as they get - though apparently it wasn't one of Mr. Wyler's. The great director supposedly dismissed it, saying, "I just wanted to do an epic." Who knows? He may have been a little chagrined at not having directed the iconic chariot race, as Lean was at not being the one to capture the storm in Ryan's Daughter). I'd be upset, too.

 

[Adam Lenhardt]

These days they never use a print for this stuff. It'll be a negative; the original neg, an interpos, interneg, or god forbid, CRI.

Thanks for the correction. I was lazily (and incorrectly) using "print" to encapsulate any and all of the above, even though I obviously wouldn't want them to source from a release print unless there were no other option.

 

[Andrew Budgell]

Great conversation going here but every time I see a new post I think it's more concrete confirmation of this title! I'm really looking forward to it.

 

[douglas-b]

Great movie.

 

[ManW_TheUncool]

Bring it... PLEASE!!!

 

[Ethan Riley]

While we're waiting for news on the blu-ray, I thought this would be as good a place as any to have a look at the 1981 revival which returned Rex Harrison to the role he'd created. It played on Broadway for about 3 months and toured extensively for some time thereafter. A lot of people seem to either misremember or dismiss this production as a tired flop. I was there, and would offer my two cents worth of analysis. It was a little tired and creaky; it featured a 73 year old Harrison playing Higgins as a 70-something, rather than doing a suspension of disbelief-type thing and trying to pretend that Higgins was actually a 40-something, as in the script. His age necessitated a reunion casting of a 92 year old Cathleen Nesbitt as his mother, for old times' sake (no pun intended) and for believability. Therefore, since Higgins' age had been advanced and Eliza's had not (she was still supposed to be in her mid-20s) it did create a certain awkwardness in the narrative. Gone in this production was that little hint of romance between Higgins and Eliza; that would have been ridiculous in this case. Without that hint of romance the narrative shifted into the play's already-present cerebral aspects; it was played as a slightly more intellectual outing this time around. That said, the show become more about the social aspects of class distinction, language barriers and wordplay than in earlier versions. It was just that little cut--you didn't wonder whether Eliza and Higgins would hook up in the end. That was completely out of the question; he was clearly 50 years older than Eliza and was played more of a mentor and irritant than in the movie and the earlier stage version. And that did make for a slightly less satisfying theatre-going experience, but in this case you'd make up for it by concentrating more on what was on the printed page rather than any romantic notions theatre-goers may ever have had when recalling the Eliza/Higgins relationship. That's about it. The sets and costumes were slightly less lavish than one would come to expect. Either there was a restrained budget in order to secure Harrison's fee, or the producers toned down the trappings in order to concentrate on the script and dialogue in this case. I'm not sure which. It did look slightly cheesy, especially to those of us who'd grown up viewing the lavishness of the movie itself. Some of the supporting players were quite good, but there were no standouts. The now-forgotten woman who played Eliza did her best, but Audrey and Julie had nothing to fear. I believe that in some of these cases where there's a revival with a huge star that the producers do not want the supporting players to trump that star. Even though Harrison was getting on in years and employed very little of the fire that marked his earlier turn as Higgins, the rest of the cast were possibly required to reel it in as well. Doolittle was not over-the-top; the servants and dancers came and did their parts with little fanfare. The emphasis was all on Harrison, and older and slightly feeble though he looked, nothing else on that stage surpassed his level of performance. He didn't look so terrible or unhealthy as you can see from the picture below. He did look his age, however. He moved across the stage with a rather slow, careful gait, just as you'd expect from a man of his age. The fire and power of his earlier turn as Higgins was, as I said, long gone, but he was still quite serviceable in the role. Time had given Harrison rather a good retrospective on that character. I believe in this production he was able to internalize and intellectualize the Higgins character with a lot more depth than in the earlier runs. That's what's important in recalling this version--that he was actually able to add something to the character even though time had taken away a lot of his vigor. I did walk away from the theater feeling I'd seen a bit of living history play out before my eyes and I will never forget this show to my dying day. I wasn't alive when he'd done it in the 50s, but better late than never, right? To this day, I've never allowed myself to watch another live production of "My Fair Lady." There'd be no point--even though it was a later production, I still feel like I've seen the real deal!

 

[David Weicker]

That's an interesting story about the Revival. To my knowledge, the actual 'getting together' wasn't originally in Shaw's Pygmalion (the final line "fetch my slippers"), but was actually added by Leslie Howard when he made the movie with Wendy Hiller (with GBS' approval). So removing it from this revival isn't that much of a stretch. David (of course, this story could be apocryphal, and I could be wrong, but I seem to remember reading it somewhere).

 

[Ethan Riley]

That's an interesting story about the Revival. To my knowledge, the actual 'getting together' wasn't originally in Shaw's Pygmalion (the final line "fetch my slippers"), but was actually added by Leslie Howard when he made the movie with Wendy Hiller (with GBS' approval). So removing it from this revival isn't that much of a stretch. David (of course, this story could be apocryphal, and I could be wrong, but I seem to remember reading it somewhere).

The "non-romance" between Higgins and Eliza really isn't in the script. It's just always, I think, made sense to play it that way. Everyone loves romance--no less the various actors who've portrayed Eliza and Higgins over the years. It's just something that magically happens when performing that show. Harrison, Andrews and Hepburn certainly allowed their faces and body language to touch upon a potential romance. Their audiences caught on. It was added and became part of the mystique surrounding the piece. I believe that in the revival Harrison intentionally turned away from that subtle aspect and that's why it was a different play. But neither way of interpreting the characters is incorrect--it can be played either way, and it's fun either way. But those romantics among us will want to dream of Eliza and Higgins ending up together...

 

[Robert Harris]

Jack Gwillim, see MFL above, played the club secretary in Aurens...

 

[Ethan Riley]

Jack Gwillim, see MFL above, played the club secretary in Aurens...

You know what--I seem to recall that he actually did not perform the night I was there. I think it was the understudy. I looked him up--in a spooky "My Fair Lady"/"Pygmalion" coincidence, he once did a play that also starred both Gladys Cooper and Wendy Hiller!

 

[GMpasqua]

Less than 6 degrees - George Bernard Shaw's "Major Barbara" the film which stars Rex Harrison playing opposite Wendy Hiller (Eliza Dolittle in the 1938 film version of "Pygmalion") - with Stanley Holloway and Marie Lohr (She played Mrs Higgin's in the 1938 film) also produced and directed by Gabriel Pascal (who added the Ballroom scenes, the bath tub scene and the happy ending to the 1938 film which were also in the 1964 film)


I wonder if anyone could have guessed at the time what would lie ahead - when the original film Eliza would be paired up with the next film's Henry Higgins with the screen's next Alfred P Dolittle, with the original screen's Mrs Higgins


Hiller and Harrison make for an interesting couple - I wonder if anyone ever spliced their film scenes together to have them playing opposite each "The Rain in Spain Stay's Mainly on the Plain"


Even stranger - Major Barbara also stars Deborah Kerr who's voice double in "The King and I" and "An Affair to Remember" (Marni Nixon) would be Audrey Hepburn's voice double in My Fair Lady


seems like Shaw was keeping an eye on everything

 

[MatthewA]

Originally Posted by GMpasqua

Less than 6 degrees - George Bernard Shaw's "Major Barbara" the film which stars Rex Harrison playing opposite Wendy Hiller (Eliza Dolittle in the 1938 film version of "Pygmalion") - with Stanley Holloway and Marie Lohr (She played Mrs Higgin's in the 1938 film) also produced and directed by Gabriel Pascal (who added the Ballroom scenes, the bath tub scene and the happy ending to the 1938 film which were also in the 1964 film)


I wonder if anyone could have guessed at the time what would lie ahead - when the original film Eliza would be paired up with the next film's Henry Higgins with the screen's next Alfred P Dolittle, with the original screen's Mrs Higgins


Hiller and Harrison make for an interesting couple - I wonder if anyone ever spliced their film scenes together to have them playing opposite each "The Rain in Spain Stay's Mainly on the Plain"


Even stranger - Major Barbara also stars Deborah Kerr who's voice double in "The King and I" and "An Affair to Remember" (Marni Nixon) would be Audrey Hepburn's voice double in My Fair Lady


seems like Shaw was keeping an eye on everything

I thought the one-scene bit part by Audrey Hepburn in The Lavender Hill Mob, which co-starred Stanley Holloway, was an interesting coincidence, but that's nothing compared to this.


So, is this disc happening? I have heard nothing and I am starting to have my doubts. For one thing, I doubt that Paramount would release two of Audrey Hepburn's biggest films around the same time, giving one a press release and lots of fanfare and quietly slipping the other one under the radar.

 

[GMpasqua]

Bill Hunt at the Digital Bits posted the cover art, so I would guess it is happening - they are probably just waiting till after the labor day weekend to announce (or just before)

 

[Andrew Budgell]

Terrific news! Can`t wait to have this on Blu!

 

[MatthewA]

Originally Posted by GMpasqua

Bill Hunt at the Digital Bots posted the cover art, so I would guess it is happening - they are probably just waiting till after the labor day weekend to announce (or just before)

Well I am glad to be wrong about that. I'm not crazy about that cover art, though. It looks like they took two pictures of Eliza in her Ascot dress and pasted the head from one on the body of the other. Give me Bob Peak's poster any day of the week.


But at least it seems like we're keeping the extras.

 

[GMpasqua]

The Cover art is the same photo used for the 1994 restoration poster. It is an actual photo and not a cut and paste job. Paramount added the pink background. As covers go it could be far worse. At least it isn't Blue and drained of all other color

 

[GMpasqua]

It's fun watching Rex Harrison in "Major Barbara" he is closer to Leslie Howard's age when Howard played Higgins in the film of "Pygmalion" And looks very much like Leslie Howard (I always thought Harrison was a little old for the film but it worked since Audrey wasn't exactly 21 (she was around 34 when the movie was filmed))

When FOX released the standalone letterbox laserdisc someone put Audrey's vocal to "Wouldn't it be Loverly" in place of Marni Nixon's on the digital track - and it worked great - Audrey sang the first two numbers (also 'Just You Wait") and then when she finally spoke with the refined ladylike voice Marni Nixon provide the singing. I would hope they would do this again someday as it makes watching the film a much better experience

 

[marsnkc]

Can't remember if I read it in Sean Phillips's autobiography or an unauthorized bio of O'Toole, but apparently the story of Jack Warner chasing the dazzling star of Lawrence of Arabia to play Higgins is true. I'd always put it down as the usual publicity stunt, but he and Cary Grant were on the top of Warner's wish-list. It seems incredible to us, in hindsight, that the man who L&L had in mind when creating MFL - the one considered the interpreter of all things Shaw - might have been replaced. On the contrary, it's actually rare that those who originate roles on Broadway get the movie. Julie Andrews is the immediate example here, but there are tons more. On Harrison's age, he writes in his autobiography of receiving a telegram at his home in Portofino: Warner: "How old Rex Harrison?" Harrison: "Old Rex Harrison fine, how you?" I saw the 1981 revival at the Pantages in Hollywood - twice! Ethan (#67) is spot on. It was a day late and a dollar short, but my expectations were low anyway. How can any stage production compete with the brilliance of the star cast, costumes, production design and everything else that money can buy? I got what I wanted, to share the same room with Mr. H. Continuing the six degree/coincidences theme here, particularly as it relates to MFL and Lawrence: Last night I watched an episode of the wonderful 'Lewis' (the continuation of 'Inspector Morse'). The story revolved around a quiz at Oxford and one of the questions on 'loose connections' was, "What links Lawrence and Lawrence?" The answer: "Shaw - T.E. Lawrence was also known as Shaw, and George Bernard Shaw lived for many years at a place called Ayot St. Lawrence". The Shaws of course were very close to Lawrence. According to the 'Brough Superior' website, GBS contributed to the cost of the one TEL was killed on. In the acknowledgement section of Seven Pillars, TEL thanks, "Mr. and Mrs. Bernard Shaw, for countless suggestions of great value and diversity - and for all the present semicolons". (Love that last bit!) I knew Brian Desmond Hurst, one of the many casualties of aborted Lawrence productions. He was set to direct a 1938 version - to star one Leslie Howard! - and was actually on a sea-plane ready to take off for the Middle East when word came from Korda that the British Governor of the area he was to film in refused permission for 'large gatherings of Arabs' (this long before social media... ; ) ) Visiting Brian one day in the mid-'70s, a call came through from his friend...George Cukor! (in Russia filming the disastrous Blue Bird). As mentioned, the star of Lawrence was a front-runner for MFL. Some guy with the initials 'RAH' is responsible for saving (amongst others) both film masterpieces for us. Andrew GBS was born in Dublin, as was Lawrence's eldest brother. T.E. would most likely have been born there too, had his father not been obliged to flee Ireland.

 

[GMpasqua]

Peter O'Toole was given the Role of Henry Higgins in the film (MFL) but during contract negotiations (O'Toole demanded too much money) Warner passed


I worked at Warner Bros for many years. There was a memo from Jack Warner: The short List:


For Higgins:

Peter O'Toole

David Niven

Rock Hudson (yes, this is true)

James Mason

Rex Harrison

Cary Grant


For Director:

Vincent Minnelli (who also wanted too much money)

George Cuckor

Morton Da Costa (who had just directed the film of "The Music Man" for WB)


For Eliza - sorry - there was only one star Warner had in mind when he bought the property - Audrey Hepburn (as early as 1961) no one else was ever seriously considered


But, In case Audrey passed on the role, Warner listed Elizabeth Taylor (who would also have to have been dubbed in the singing department) and Shirley Jones (Who really wasn't right for Eliza, though she could sing it beautifully) Julie Andrews was never considered and had not made a film in 1961 - it wasn't until MFL started pre-production that Julie Andrews finally accepted the Mary Poppins role which she had been offered years before (had Julie done MP when originally offered the role she may have gotten to star in the film of MFL).


When Audrey accepted the role she was told they would use much of her singing voice (She knew the high notes would have to be dubbed in - and this was common practice at WB ("Damn Yankees" with Tab Hunter and "Gypsy "Natalie Wood) where the actor could sing somewhat - but not well enough to hit all the notes professionally


Warner also tried to get James Cagney to play Dolittle but the actor had retired and didn't make another film until 1980 (Ragtime)


Isabel Jeans (Leslie Caron's Aunt in "Gigi "A Topaz? In my collection!") was sought after to play Mrs Higgins (I can't recall why she turned it down - it may have been due to her health at the time)


Julie Andrews became the top box-office star of the 60's - but only when she played virgins, nuns and nannies. In romantic roles she never really clicked on screen. When she tried to play the sexy Mari Hari type spy (opposite Rock Hudson) in "Darling Lilli" there was absolutely no sexual chemistry on the screen. None, absolutely none, that's right none, none, none, nun, nun....