My Fair Lady (Blu-ray, restored)

Audrey Hepburn, Rex Harrison, Stanley Holloway, Alfrid Hyde-White, Gladys Cooper, Jeremy Brett, Theodore Bikel. CBS Home Entertainment and Paramount Pictures 3-disc Blu-ray set.

If at first you don't succeed....

In 2011 CBS Home Entertainment and Paramount Pictures released My Fair Lady to Blu-ray. They did a horrendous job, one of the worst Blu-ray movie transfers I had ever seen or heard. However, in 2015, thanks perhaps to a multitude of complaints, they rereleased the film to Blu-ray, this time with completely remastered picture and sound for a flawless 50th Anniversary Blu-ray edition. It was a long wait, but it was worth it for one of filmdom's great, classic musicals.

My Fair Lady is, of course, one of the best and most-popular stage musicals of all time. It has what so many other musicals do not have--an intelligent script, great acting, clever dialogue, and an endless stream of memorable tunes. The film won eight Oscars in 1964 for Best Picture (Jack L. Warner), Best Actor (Rex Harrison), Best Director (George Cukor), Best Art Direction (Gene Allen, Cecil Beaton, George James Hopkins), Best Cinematography (Harry Stradling, Sr.), Best Costume Design (Cecil Beaton), Best Music (Andre Previn), and Best Sound (George Groves). Yes, I said it was good.

Alan Jay Lerner and Frederick Loewe based the story on George Bernard Shaw's popular 1913 stage play Pygmalion, which Shaw in turn had based on the classical myth about the sculptor who fell in with the statue of a maiden he created, brought to life by the goddess Aphrodite. The Lerner and Lowe musical stage play was an instant success on Broadway in 1956, coming to the screen in 1964 under the supervision of producer Jack L. Warner and director George Cukor.

The plot centers on the idea that the way things appear is not always the way they are; or, conversely, if you can change the way things appear, it makes them the way they are. In the story it is phonetics Professor Henry Higgens's proposal that he can take any lower-class citizen off the streets of London and pass him or her off as a cultured lady or gentleman simply by teaching the person to speak properly. Of course, it was Shaw's satiric dig at society that we judge people on how they look and sound, not on who they really are. The object of the professor's interest in this pursuit becomes Eliza Doolittle, a poor, largely uneducated flower girl. Taking her under his wing, the professor makes a bet with his friend and colleague, Col. Hugh Pickering, that he can successfully introduce her into high society within six months. Needless to say, Eliza winds up teaching Professor Higgens as much about life and about himself as he teaches her about how to be a proper lady. The story is endlessly engaging and has as much appeal today as it did when Shaw first conceived it.

Audrey Hepburn
Rex Harrison reprises his stage role as Higgens, the part for which fans will forever remember him.  Harrison was already an established star when he accepted the role in the musical, and it is one he seemed born to play. When the studio initially asked Cary Grant to do the movie role, Grant turned it down, saying if Harrison didn't get the part, he'd never do another film for them. Harrison is so convincing one would think he were the Professor in real life. I rather expect his fans thought he was, too. Shaw's play leaves the final relationship of the Professor and the flower girl ambiguous, but the musical is more romantic and hints at something more serious. It is a tribute to Harrison that audiences hardly notice the age difference between the two characters, although the twenty-one-year span is almost exactly what Shaw had in mind. Higgens's most notable songs are "Why Can't the English?," "I'm an Ordinary Man," "The Rain in Spain," and "I've Grown Accustomed to Her Face."

The part of Miss Doolittle went to Audry Hepburn, and therein probably lies the movie's major point of contention. Julie Andrews had made the role her own on Broadway and record albums, and for audiences who had seen or heard her, it was inconceivable that anyone else should get the part. But the studio felt otherwise, unconvinced that Ms. Andrews had the necessary drawing power they thought the film needed and also a little wary of Ms. Andrew's photogenic qualities. So they went with what they considered a sure thing in superstar Audry Hepburn, causing not a little bitterness on the part of theatergoers everywhere. Meanwhile, Ms. Andrews went on to do Mary Poppins and The Sound of Music in the next year and half; and while the Academy didn't even nominate Ms. Hepburn for My Fair Lady, they gave Ms. Andrews the Best Actress Oscar for Poppins.

None of which is to suggest that Ms. Hepburn's portrayal of Eliza is anything but delightful and charming. Yet the controversy was not to end there. Despite Ms. Hepburn's insistence that she do her own singing, Warners dubbed her voice by uncredited singer Marni Nixon, who had previously done the singing dubs in the movie versions of West Side Story and The King and I. Again the studio got its way, and again there was a degree of bitterness involved, this time on the part of Ms. Hepburn, whom the studio had apparently assured could do the vocals and for which she had even rehearsed and filmed several. But it's all history now, and we will never know what more Ms. Andrews might have done with the role or, except for two songs mentioned below, what Ms. Hepburn might have done with the rest of the singing. Eliza's most celebrated songs include "Wouldn't It Be Loverly," "Just You Wait," "I Could Have Danced All Night," and "Without You," among others.

Red Harrison
The indefatigable Stanley Holloway plays Eliza's father, a role he did on Broadway, and he all but steals the show with his two cockney music-hall numbers, "With a Little Bit of Luck" and "Get Me to the Church on Time." In other notable parts, fans of English television's Sherlock Holmes will be tickled to see the late Jeremy Brett playing Eliza's young, lovesick, high-society admirer, Freddy Eynsford-Hill, and singing "On the Street Where You Live" (uncredited singing voice courtesy of Bill Shirley). Wilfrid Hyde-White plays Col. Pickering; Gladys Cooper plays the Professor's mother; and Theodore Bikel plays the deliciously unctuous Zoltan Karpathy ("Oozing charm from every pore, He oiled his way around the floor").

The songs, cast, dialogue, direction, costumes, and set designs combine to make My Fair Lady one of the all-time great movie musicals in Hollywood history. The newest Blu-ray does it proud.

Video:
The first time around on Blu-ray (in 2011), the CBS/Paramount engineers apparently used the same 1994 restoration that had looked good on DVD, but they made no effort to restore the film any further for BD. Worse, they introduced some ugly artifacts into the BD, including some occasional white flecks and specks and an unconscionable blooming at the edges--maybe exposure issues, fading--in the lower sides of the screen that intensified as the film went on; and by the second half the print looked as though someone were shining a bright light on the image

Fortunately, for this new My Fair Lady 50th Anniversary Edition Blu-ray edition, CBS Home Entertainment and Paramount Pictures asked restoration expert Robert Harris (who had done excellent work twenty years earlier with the restoration of the DVD) to head up the team restoring this new Blu-ray version of the film. The results look splendid. The colors are vivid; the object delineation is well-nigh perfect; the screen is clear and clean. The whole thing is gorgeous.

Audio:
It was remarkable that the first time around on Blu-ray, the CBS/Paramount audio engineers couldn't correctly transfer the sound of possibly the greatest musical of all time to disc. Through a misplaced enthusiasm in the use of the surrounds, the solo vocals on the older BD often appeared soft and hollow and the orchestral accompaniment too reverberant, sometimes cavernous. What's more, the engineers even cranked up the bass in a few scenes. It was pretty awful, and if you still have that older disc, you might consider making a 100% better upgrade to this newer BD edition if only for its improved audio.

For the current edition, the Dolby TrueHD 7.1 audio is excellent. That is, it reproduces the sound of the movie pretty much as I'm sure its original creators intended, but with a little more ambient action for a home setup equipped with multichannel sound. Instead of going all crazy with the surrounds and making the musical interludes appear as though the engineers recorded them in a barrel, the engineers perfectly blend the singing and orchestral accompaniment in the front channels where they belong, with a touch of ambient bloom from the surrounds to provide depth and dimension. Voices sound natural, whether in song or dialogue, and the orchestra sounds realistic. The frequency extremes are maybe a little less extended than we find today, but it's hardly an issue.

Extras:
The extras include a second Blu-ray disc with a ton of extras, plus a third disc containing a DVD version of the movie. But it's the second BD that has most of the bonus items, starting with a 1994 making-of documentary, "More Loverly Than Ever: My Fair Lady Then and Now." Next, there is a series of vintage featurettes, including the 1963 production kickoff dinner; the film's Los Angeles and British premieres; a Rex Harrison radio interview; George Cukor directing the Baroness Rothschild; some production tests; alternate Audrey Hepburn vocals; and comments on the film by Andrew Lloyd Webber and Martin Scorsese.

Following these items are several more things, including "The Story of a Lady," "Design of a Lady," and "The Fairest Fair Lady"; Cecil Beaton sketches, black & white stills; color production stills; documents and publicity; plus seven different trailers, and three awards featurettes.

The disc extras conclude with fifty scene selections; English, German, Spanish, Italian, French, and Japanese spoken languages; English, Danish, Finnish, French, German, Italian, Japanese, Norwegian, Portuguese, and Spanish subtitles; and English captions for the hearing impaired.

Finally, CBS/Paramount have packaged the three discs in a beautiful, glossy, trim-line, foldout case that is among the most attractive I've seen. It is in itself a small work of art.

Parting Thoughts:
As pure entertainment My Fair Lady makes other musicals seem almost crude by comparison, and it deserves to be the standard by which we judge other musicals. Movie fans' concerns about Julie Andrews notwithstanding, the film is absolutely loverly, now with Blu-ray picture and sound to do it justice.

JJP

To watch an official trailer for the restored version of "My Fair Lady," click here: http://www.myfairlady50.com/

Picture quality:  10
Sound quality:  9
Extras:  9
Entertainment value:  10

Labels:

Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Karl Nehring, Editor and Contributor

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

Contact Information

Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa