Pygmalion

How wonderful of TCM to show the 1938 version of Pygmalion (directed by Anthony Asquith and co-star Leslie Howard, with editing by David Lean) now that I've been reading so much George Bernard Shaw for my English class! This film was truly a wonderful piece of work, an entertaining adaptation of a great play.

For the two of you who might not know the plot: obnoxious linguist Henry Higgins (Leslie Howard) makes a bet with his colleague Colonel Pickering (Scott Sutherland) that he can transform vulgar Cockney flower girl Eliza Doolittle (Wendy Hiller) into a lady within a few months. Of course he eventually succeeds, but at what cost? With his bet won, Henry has no more use for Eliza, who is now trapped between two worlds that she doesn't fit into - and her own conflicted feelings towards Higgins, the "confirmed bachelor" and narcissist who will not reciprocate her feelings.

Of course, this play is known by a less discerning audience as the inspiration for the Broadway musical My Fair Lady and its bloated film adaptation, which awkwardly attempts to preserve Shaw's caustic satire and acid wit amidst an endless barrage of banal and treacly songs (and needless diversions). And as such, comparisons between this film and the musical are inevitable. Adapting his own play to the screen, Shaw manages to compress the play to a far more managable 96-minute run time, make it an enjoyable film experience, and still maintain the basic core of intelligence and satire that made the play so great.

Analyzing the play should come easily enough, as it's been done many times by more intelligent and able writers than myself. I disagree with the view that Higgins is a misogynist (or a homosexual, for that matter), any more than other Shavian heroes like Tanner in Man and Superman; rather, he is simply a narcissist, an intellectual who views himself as the ideal of what Man should strive towards, with the idea of women as a distraction from his intellectual pursuits. The film cheats a bit by including a "happy ending" absent in the original play, but the point largely remains; Henry's narcissistic detachment is his defining characteristic, bettering humanity in an abstract way (teaching them proper speech) while remaining unable to see the value of it.

But what of Eliza? She is certainly a well-rounded character, transformed not against her will but by hands into an ideal lady, gaining self-awareness along with a refined appearance. What place is there for women like Eliza in society? She's dirt as a flower girl, but other than a refined accent, what has she practically gained from her experience? She is not the ideal woman, the work of art which Higgins considers her, but she remains an individual throughout, gaining self-awareness along the way. Unfortunately, it's true that "A woman is only as good as she's treated", as Eliza says - and the play suggests that, by marrying the rich idiot Freddy (David Tree), she is surrendering to the expectations foisted upon her new state of being. The film's happy ending, as mentioned before, cheats us a bit, but the message still resounds through the film.

Thankfully, this film economizes its supporting cast: Freddy, the romantic fool who woos Eliza, is presented as an utter berk, unlike the hopeless romantic in the musical, and Alfred Doolittle (Wilfrid Lawson), Eliza's father who himself falls victim to "middle class morality", is used sparingly and fails to become the nuisance Stanley Holloway makes of the character. This helps cut down on the run time for a start, and allows the movie to focus squarely on its two protagonists.

Technically, the film is well-done if rather restrained. Harry Stradling's moody cinematography and the art direction and costume design are sparse and economical, giving just the right touch of class and grace without becoming burdensome or overwhelming the story and characters. David Lean's editing is quite striking throughout (and he provided direction on at least the phonetics montage sequence). The movie moves along at a brisk clip, stopping only when necessary (and the absence of music is certainly welcome); it's intellectual enough to preserve Shaw's play while remaining accessible to the average viewer.

Wendy Hiller is a wonderful Eliza. While Audrey Hepburn was a radiant Eliza, she was never convincing as the "squashed cabbage leaf", only as a princess in hiding under dirty clothes and smudged make-up. Hiller lacks Hepburn's conventional, glamorous beauty; hers is a more common, realistic beauty, and her transformation is made quite effective as a result. Hiller delivers her performance with real fire, humor and spark, giving the character a sharp edge and vitality lacking in Hepburn's later portrayal.

Opposite Hiller, Leslie Howard is quite an impressive Higgins, matching Rex Harrison in wit, snark and charming obnoxiousness. He plays just the right notes with the character, making him the perfect blend of repellant and charming (but always funny). The supporting cast is adequate although there are no particular standouts to note.

Pygmalion was a fine way to end a long day, a fine adaptation of Shaw and a great film in its own right. Now let's see if we can track down the later adaptation of Major Barbara (also with Hiller), shall we?

Rating: 9/10 - Highest Recommendation