-
2. A Touch of Class: Pygmalion, Major Barbara, and Other
- The University Press of Kentucky
- Chapter
- Additional Information
GettingStarted 30 editor—andsohedid.Furthermore,Pygmalionwasthefirstfilmonwhich DavidLeanactedunofficiallyasacodirector. Pygmalion(1938) GabrielPascal,aHungarian-bornfilmproducer,arrivedinBritaininthe mid-1930swithoutapennytohisname.Yethewasdeterminedtoconvince theplaywrightGeorgeBernardShawtopermithimtomakefilmsofhis plays.Pascalhadsethimselfarealchallenge,sinceasearlyas1924Shawhad expressedhisdisdainforthesilentcinema.Manymotionpictures,hewrote, were “boresome blunders,” marred by actors photographed in hideous makeup,showninclose-ups“thatanangel’sfacecouldnotbear....Good senseisaboutnon-existentamongyourfilmmakers.”2 Nottobedeterred,theirrepressiblePascalmanagedtowangleaninterview withShaw.Pascalcouldbebeguilingandcharming,andShawwasentranced by the enthusiastic Hungarian. Pascal was able to get the elderly playwrighttogranthimthescreenrightstohis1913playPygmalion—though PascaldidnotleavetheirfirstmeetingwiththePygmalioncontractinhispocket ,aslegendhasit.ItwasonlyafterfurtherconferencesthatPascalmanaged toconvinceShawthathewasaconscientiousfilmmakerandthatthefilmversion ofPygmalionwouldnotmutilatetheplay.Finally,Shawcededthefilm rightstoPascal—andevenagreedtowritethescreenplayhimself. Afterbeatingthebushesunsuccessfullyinsearchoffinancialbackersfor the project, Pascal eventually went straight to the top and got Richard Norton,theproductionchiefatPinewoodStudiosinBuckinghamshire,to helphimsecurebackersforthemovie.NortonwiselypointedouttoPascal thatfinanciershadnotbeenwillingtoputmoneyintoaShawfilmbefore becauseShaw’splayswereconsideredtoohighbrow;besides,theydidnot haveenoughsextoappealtofilmaudiences.Accordingly,Pascalcleverly coaxedShawintoalteringhis“sacredtext.”Afilm,Pascalemphasizedto Shaw,cannotbemerelyaphotographedstageplay.Shaw’ssecretary,Blanche Patch,commented,“ItwasthebiggestconcessionShawevermadetoanyone .Pascalnowhad[Shaw]wellundercontrol.”3 ThecharmthatPascalexertedonShawisevidentinShaw’slaterdescription oftheproducer.“GabrielPascalisoneofthoseextravagantmen whoturnupoccasionally,sayonceinacentury,andmaybecalledgodsends intheartstowhichtheyaredevoted,”wroteShaw.“Themanisagenius.”4 Thoughhardlyagenius,Pascalhadanuncannywayofingratiatinghimself with influential and powerful people, like Shaw and Norton. A wag at PinewoodquippedthatGabriel’slastnameshouldhavebeenRascal,not LeanChap02B.indd 30 9/21/06 2:52:59 PM [18.119.111.9] Project MUSE (2024-04-25 12:19 GMT) ATouchofClass 31 Pascal.WithShawintheircorner,PascalandNortonthenformedPascal FilmProductions,anindependentfilmcompany,andNortonemployedhis considerableinfluencewiththemoneymentoraisethecapitalneededto producethefilm. Moreover,NortonarrangedtohavethemoviedistributedbyJ.Arthur Rank’sGeneralFilmDistributors.Rankhadmadeafortunewithhisflour millsbeforeenteringthefilmindustryin1933.By1937,hehadacquired PinewoodStudios.SoPygmalionwastobemadeatastudiowhereoneof Rank’sownexecutiveswasinchargeofproduction;consequently,Rankobviously thoughtPygmalionapromisingproject.Rank’sultimategoalasa filmmogulwastogetgoodBritishfilmsintotheAmericanmarket,andhe shrewdly guessed that Pygmalion would attract audiences in the United StatesaswellasinBritain. Pascalhadanunerringeyeforchoosingtherightpersonneltocollaborate onaproject.HeengagedDavidLeantoeditthefilm,withthewarm approvalofNorton,whorememberedLeanfromEscapeMeNever.Lean willinglytookacutinpayinordertobepartofthisprestigeproduction.In addition,PascalsecuredtheservicesofAnthonyAsquithtocodirectthefilm with Leslie Howard, who was also to play the male lead. Asquith was a prominentBritishdirectorwhocamefromanupper-classmilieuandwas notedforhisscreenadaptationsofstageplays,particularlythoseaboutpeople ofstatusandbreeding.Therefore,Pygmalionwasrightuphisalley,dealing asitdoeswiththeclassdistinctionsinBritishsociety.Thestory...