(On Cable TV, December 2017) My issues with big Hollywood musicals (especially in their classic pre-seventies period) are simple. They feel interminable, often because (being frequently adapted from endless Broadway musicals) they take narrative breaks during their songs. The song starts and unless it’s a toe-tapper, it’s just as possible to go get a snack and come back in time for the conclusion of the song, at which point nothing will have changed. When the musical is good, it usually gets better toward the end as there is (finally!) some dramatic movement. So it is that much of My Fair Lady is underwhelming, especially at first. The Pygmalion plot being presented piece by piece, we frequently have to stop in order to let the characters have their say and present themselves. Audrey Hepburn is cuteness personified as a coarse commoner being groomed into becoming a passable member of London’s high society, while Rex Harrison is his own brand of fun as a highly self-confident phonetics professor. The film’s big insight that manners make the woman is cogently put, but it does take a while to get there. The film does get better midway through, as the comedy of manners training finally takes off and the female lead is tested in her introduction to high society. The subplot about her family does drag, and My Fair Lady becomes less interesting the more it remembers that it had to deliver a romance in addition to the class comedy. But ultimately, the charm of the lead actors eventually wins out on the way to a predictable conclusion. The film can be watched today and only feel slightly stuffy—the period setting does help a lot in breaking the film out of its production date. While I’m reasonably satisfied with the end result, I still wish it would have been shorter.