Musical Blog-a-thon

When Encore's World of Film & TV (have you read the blog? Well worth the visit) first mooted the idea of a Musical blog-a-thon I was initially sceptical. They may be a few corners of the web that will clear out throats and belt out a supportive tune for our own personal favourites but we are preaching to the converted. The rest of the world will shrug and carry on with their general disregard for this much maligned genre.

Therein lies the problem. Musicals are not, in themselves a genre, it's a style of storytelling and due to the theatricality of the style it can be off-putting. We do not, in life, suddenly burst into song so accepting characters to do the same requires a suspension of disbelief that is over and above most movie going experiences. It is not surprising therefore that 2 of the most critically acclaimed and commercially successful musicals from the last ten years have wavered from the traditional formula - Chicago played the musical numbers within the subconscious of the stars, and Moulin Rouge created a world where every act was theatrical and the singing was a natural extension of that world.

If the rise of naturalistic story telling has hampered the musical form what then is the future. There are currently few big budget musical productions being prepped, in the last 18 months of reading the news only 4 come to mind (forgive me if there are more); Steven Soderbergh's Cleo which appears to be going the over-theatrical route, 1990 Tony Award winner City of Angels which takes place in the mind of the main character, Nightclub based The Song is You where the music accompanies the story rather than propels it and the Carey Mulligan starring My Fair Lady update.

It's this last picture that I aim to focus on for the rest of the post. Partly because it's a story that can only be told in a naturalistic way, partly because the remake has a huge amount of responsibility and partly because I love the original so much. So read on for five reasons why My Fair Lady could rescue the Hollywood Musical, and one reason why it means so much to me.





1. The story is timeless

Alan Jay Lerner may have based his musical on George Bernard Shaw's 1913 hit play (albeit removing the tricky prologue and epilogue's and changing the ending) but that's story is simply a modern retelling of the Greek Myth popularised by Ovid. Pygmalion himself was a (fictional) sculptor who's love for his work is so great that the sculpture comes alive. This concept of a work of art coming to life through overwhelming desire is seen in variations as different as Frankenstein, Pinnochio and Laura. In Shaw's version Eliza Doolittle is no longer an inanimate object but the idea that working on her to make her more desirable will corrupt dialect expert Henry Higgins into falling in love is clearly reflective of the original story.

Here is Rex Harrison as Henry Higgins realising he loves his creation:



2. The songs are catchy

With musical theatre the score must either be so good that the listener appreciates the quality of the writing (see just about anything by Sondheim), or you need to leave the auditorium toe tapping away (try anything by Andrew Lloyd Webber). I won't pretend the music in My Fair is particularly well written, but by God it does make you want to join in.

Stanley Holloway's getting married in the morning - I expect you know this one.



3. The love story is complex and real

What exactly are the dynamics of the central romances in My Fair Lady? Well Freddy Enysford-Hill falls for Eliza on first meeting her. Eliza, who's father abandons her, has a thing for older man Higgins. Higgins devoutly states he will never let a woman in his life at the beginning, questions why women can't be more like men and when presented with Eliza on a plate (sorry about the spoiler) doesn't rush to hold her but leans back and asks for slippers (am I the only one wondering what the exact relationship between Higgins and Pickering - "What a fine pair of babies playing with their life size doll" - could be). In short everyone falls for the wrong person, and no-one knows how to truly express their feelings.

This is best expressed in Audrey Hepburn's (Marni Nixon's voice) dismissal of words:



4. It's so awfully British

Being set in Edwardian England has some great advantages for musicals. Primarily because we can understand every line of dialogue and singing (even the accents are very well enunciated), and partly because it will actually be easier to believe the characters breaking into song. Trust me it will work...

Rex Harrison explaining why English is so important.



5. Behind the scenes the craft is incredible

The original is beautiful, every scene is packed with gorgeous detail and period flourishes. Whilst the update will struggle to better it if it comes anywhere close to the creativity exhibited then it will be gorgeous to watch.

Here's the Ascot Gavotte which very nicely showcases the gorgeous costuming, frivolous design and impeccable choreography.



6. When I was a boy I knew every word

The very personal reason I want this to succeed is based on my own childhood. I am truly a child of the VCR, invented and mass produced when I was living in Hong Kong my family were one of the few people to have them when we returned to the UK. There were limited recordings available - naturally I wore out Star Wars and the few Disney titles that were around as well as an unhealthy fixation with Carry On films. My Grandparents were musical fans though and felt that the overt sexuality in Rodgers and Hammerstein pictures like South Pacific and Carousel was too much for me but that My Fair Lady, for all the reasons above, was more suitable. So every couple of weeks as a fresh faced 6 year old I would go to visit them and spend nearly three hours starring at Cecil Beaton's delightful costumes. I did, as I stated above, know every word. So it's very important to me personally that they get this new version right and not sully the original.