A Fair Trade – Manila Bulletin

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MEDIUM RARE

Jullie Y. Daza

As I promised myself, no mention of the C word, not today.

After watching the nth rerun of My Fair Lady, the air is bright, the space is light, the vibe is just like rain and the pretty things it grows – flowers, grass, crops, the plant. umbrellas. My Fair Lady the movie was produced in 1964 and restored not long ago for Netflix by digital artists and technicians, all geniuses. The current generation may find it full of holes, like cheese, but even the most romantic and successful K-drama can’t hold out with a feather at this Lerner-Loewe musical. A musical spins an enchantment in another dimension (that the Korean “Hallyu” has not been able to imitate … not yet).

Based on the myth of Galatea and Pygmalion, which in turn inspired George Bernard Shaw’s play, Pygmalion, My Fair Lady stars the one and only Audrey Hepburn as the flower seller whose life is improved when his gutter culture English is transformed by the expert in phonetics played by Rex Harrison. Hepburn’s charm and chic are recognizable by fashionable millennials, but Harrison -? Does it matter that the pair is not aware?

What matters is the story, and with it its characters. As entertainment it is important that the treatment be as Broadway-Hollywood as possible. Sumptuous sets, wonderful costumes, production design where every line, stitch, color is showcased by the wonderful film restoration technology, allowing freshness to shine on screen more effectively than the original version did. never did!

Billed as “trending on Netflix,” My Fair Lady is a refreshing change – full of fun, wit and humor, memorable songs with lyrics that magically rhyme. “I could have dance the night away”, “I got used to his face” – what a change from endless drama films, international series with English subtitles, American films, documentaries about horrific crimes that happened in Mexico, Argentina, etc. Nothing as “in love” as My Fair Lady.

The word ‘trending’ gives hope that Fair Lady has found a delighted new audience in the Philippines, no matter it was produced for their parents and grandparents a long time ago, when love stories weren’t turning. necessarily around anguish and agony and twisted participants living inside tortured souls.



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