my fair lady的简介,最好是英文

my fair lady的简介,最好是英文
my fair lady的简介,最好是英文

my fair lady的简介,最好是英文
Audrey Hepburn was born on May 4, 1929 in Brussels, Belgium, with the given name of Edda Kathleen van Heemstra Hepburn-Ruston. She really was blue-blood from the beginning with her father, a wealthy English banker, and her mother, a Dutch baroness. After her parents divorced, Audrey went to London with her mother where she went to a private girls school. Later, when her mother moved back to the Netherlands, she attended private schools as well. While vacationing with her mother in Arnhem, Holland, Hitler's army suddenly took over the town. It was here that she fell on hard times during the Nazi occupation. Audrey suffered from depression and malnutrition. After the liberation, Audrey went to a ballet school in London on a scholarship and later began a modeling career. As a model, she was graceful and, it seemed, she had found her niche in life--until the film producers came calling. After being spotted modeling by a producer, she was signed to a bit part in the European film Nederlands in 7 lessen (1948) in 1948. Later, she had a speaking role in the 1951 film, Young Wives' Tale (1951) as Eve Lester. The part still wasn't much, so she headed to America to try her luck there.
Audrey gained immediate prominence in the US with her role in Roman Holiday (1953) in 1953. This film turned out to be a smashing success as she won an Oscar as Best Actress. This gained her enormous popularity and more plum roles. One of the reasons for her popularity was the fact that she was so elf like and had class, unlike the sex-goddesses of the time. Roman Holiday was followed by another similarly wonderful performance in the 1957 classic Funny Face (1957). Sabrina (1954), in 1954, for which she received another Academy nomination, and Love in the Afternoon (1957), in 1957, also garnered rave reviews. In 1959, she received yet another nomination for her role in _Nun's Story (1959). Audrey reached the pinnacle of her career when she played Holly Golightly in the delightful film, Breakfast at Tiffany's (1961) in 1961. For this she received another nomination. One of Audrey's most radiant roles was in the fine production of My Fair Lady (1964), in 1964. Her co-star Rex Harrison once was asked to identify his favorite leading lady. Without hesitation, he replied, "Audrey Hepburn in MY FAIR LADY". After a couple of other movies, she hit pay dirt and another nomination in 1967's Wait Until Dark (1967).
By the end of the sixties, after her divorce from actor Mel Ferrer, Audrey decided to retire while she was on top. Later she married Dr. Andrea Dotti. From time to time, she would appear on the silver screen. One film of note was Robin and Marian (1976) with Sean Connery in 1976. In 1988, Audrey became a special ambassador to the United Nations UNICEF fund helping children in Latin America and Africa, a position she retained until 1993. She was named to People's magazine as one of the 50 most beautiful people in the world. Her last film was Always (1989) in 1989. Audrey Hepburn died on January 20, 1993 in Tolochnaz, Switzerland, from colon cancer. She had made a total of 31 high quality movies. Her elegance and style will always be remembered in film history as evidenced by her being named to Empire magazine's "The Top 100 Movie Stars of All Time".
英文剧本要不要?My Fair Lady Script - Dialogue Transcript
http://www.script-o-rama.com/movie_scripts/m/my-fair-lady-script-transcript.html
My Fair Lady－《窈窕淑女》,改编自肖伯那的话剧《卖花女》,原名《匹格梅梁》（Pygmalion）,Pygmalion是罗马神,为塞浦路斯国王,热恋自己雕刻的少女像.爱神维那斯被其诚心打动,施法将雕像变成活人与Pygmalion完婚.肖伯那借名以喻剧中的教授.1938年拍过叫Pygmalion 的电影.
箫伯纳曾于1933年访问中国.代表作有《华伦夫人的职业》、《卖花女》等,其作品以机智、幽默著称.他在1925年获诺贝尔奖,在发表得奖感言的时候他说,我在一个河里面游啊游,游到岸边我得到了一个救生圈,开始的时候我多么希望得到没有得到.那时候他已经69岁,但是没有想到他又活了25年,活了94岁.他这种幽默是对付我们很多人生所遇到麻烦问题时候的精神武器,这是所有我们从事艺术的歌手,我们成功时候,可能会遇到很多鲱鱼,他非常的记忆与人,上演的时候,全场一片欢呼,谢幕的时候,地下有人说箫伯纳你太糟糕你在卖弄,所有的人都以为他一定会发火,没想到他说亲爱的朋友,我的观点和你一样,但问题是全场只有我们两个一样,我们还是少数服从多数吧.我们往往就没有箫伯纳这样的幽默,只有他指出了那个喊声极高的人其实是一个极少数,就是这样,他赢得了大家的掌声,而不是让大家看到一个发怒的箫伯纳.箫伯纳是一个很有意思的人.
奥黛丽·赫本（Audrey Hepburn）
窈窕淑女 (1964) My Fair Lady
导演：
George Cukor
编剧：
George Bernard Shaw
Alan Jay Lerner (musical play)
类型：喜剧 / 家庭 / 歌舞 / 爱情 / 剧情
上映日期：1964年10月21日
宣传语：The loverliest motion picture of them all!
剧情梗概：
卖花女伊莉莎.杜利特尔,长得眉清目秀,聪明乖巧,但出身寒微,家境贫寒.她每天到街头叫卖鲜花,赚点钱补贴家用.
一天,伊莉莎甜美的嗓音引起了语言学家希金斯教授的注意,教授夸口只要经过他的训练,卖花女也可以成为贵夫人.伊莉莎觉得教授说的话对她是一个机会,就主动上门请求教授训练她.
教授的朋友皮克林和他打赌,如果让伊莉莎以贵夫人的身份出席6个月后将举办的大使游园会而不被人识破真相,那么皮克林愿意承担一切试验费用和伊莉莎的学费.
希金斯欣然接受了挑战.他是不甘示弱的,他从最基本的字母发音开始教起.希金斯是个精力旺盛和讲究科学的学者,对每一感兴趣件事都能废寝忘食.他胸怀坦荡、丝毫不怀任何恶意,但他又象孩子一样,毫不顾及他人的感情,对伊莉莎严加训练.
《窈窕淑女》是一部不朽的音乐剧,它最成功的地方在于其中的歌曲建立起主角人物鲜明的性格和彼此间的关系,不同于其他音乐剧,注重由对白来推展情节.
《窈窕淑女》1956年3月15日首演于纽约马克·赫林格剧院,在百老汇连演了近10年,共上演了2717场,成为50年代最为脍炙人口的音乐剧.从《窈窕淑女》首演开始,就非常清楚地显示出“窈窕淑女”将成为一种现象.它不仅在纽约和世界各国都创造了新的票房记录,还被搬到世界很多国家的舞台上以多种语言进行表演,《窈窕淑女》的唱片销量更是高达500万张.《窈窕淑女》还获得包括最佳音乐剧奖在内的托尼奖6项大奖和3项提名.
这个成功应首先归功于匈牙利的电影制片人盖布瑞尔·帕索,他将他生命中最后两年的光阴都奉献给了寻找能将乔治·伯纳·萧1914年的戏剧《皮格马利翁》改编成音乐剧最合适的人选上.萧伯纳当初创作这部戏剧时就是想以一种讽刺的眼光讲述一个“灰姑娘”的故事.取名为“皮格马利翁”正是想用古希腊的故事借古讽今,一位技艺高超的雕塑家完成了一樽完美的雕像后,竟然爱上了“她”.我们在津津乐道于“鲤鱼跳龙门”的神话,感叹于“灰姑娘”命运幸运的同时,也许更应该体会到故事更深的寓意.
这个剧本虽然深受罗杰斯和汉姆斯特恩以及尼欧·考沃德的喜爱,但他们仍然拒绝了帕索.1952年,帕索只好找来了阿兰·杰·勒纳（Alan Jay Lerner）和弗瑞德里克·罗伊维（Frederick Loewe）这对年轻的创作组合.他们获得了成功.
作为罗杰斯和汉姆斯特恩的继承人,作词、剧作家勒纳（1918－1986）和作曲家罗伊维（1904 - 1988）声称保留了他们的艺术风格.
勒纳是连锁商店创始人的儿子,然而他对家族的事业毫无兴趣.他曾编制过广告宣传手册和广播节目,以后,他开始从事歌词的创作.罗伊维是奥地利裔的美国作曲家.1924年罗伊维来到了美国,一度默默无闻地在杂耍戏的创作中工作了许多年.两人注定了只有合作才能在美国音乐剧舞台上有所建树.他们的第一部音乐剧《锦绣天堂》大获成功,为此勒纳获得了纽约戏剧论坛奖,接着他们所创作的《窈窕淑女》、《锦上添花》和《琪琪》也接连获得成功,1951年勒纳所创作的《一个美国人在巴黎》荣获奥斯卡最佳剧本奖.勒纳与许多优秀的作曲家合作过,不过最使他难以忘怀的还是与罗伊维的合作.1956年上演的《窈窕淑女》便是两人最成功的合作.
该剧无论在艺术上还是在商业上均创造了令人惊异的奇迹,除了音乐剧的魅力之外,萧伯纳原著的魅力自然也是其大获成功的原因.
故事以一个“灰姑娘”的主题捍卫了英美文化的精神堡垒——英语,可以说是深具严肃教诲意味.故事发生在爱德华时代的伦敦,伊莉莎是一个美丽但口音怪异、行为粗鄙的街头卖花女,她的穿衣打扮和行为举止丝毫不能引起年轻绅士的注意,当伊莉莎向英俊的贵族青年弗立德出售紫罗兰时,就遭到了对方的拒绝.而自认为是上流社会叛逆的语言学家亨利·希金斯因研究英语的发音和她起了纠纷,不料却启发了伊莉莎学好英语以成为花店卖花女的欲望.从印度前来拜访希金斯的皮克瑞认为这是一个很好的英语标准教学的科学实验,便与希金斯打赌,看能否在六个月之内把伊莉莎改造成上流社会淑女,在大使馆的社交舞会亮相而不被拆穿.
希金斯接受挑战,开始对伊莉莎展开密集、严格的语言训练,起初有如对牛弹琴,但一经开窍,伊莉莎却进步神速.赛马的日子到了,这是上流社会聚集的场合,人们穿着时髦、谈吐优雅.希金斯为了检验几个月来的成果,也带伊莉莎来到了赛马场.经过严格包装后的伊莉莎吸引了在场很多贵族的注意,通过了初次的语音考验.但是在她为马加油的时候,她那惯常的举止和口音再次显露.伊莉莎非常难过,然而希金斯认为自己的实验离成功已经不远了.在一次大使馆舞会上,伊莉莎艳压群芳,成为上流社会淑女名媛而震惊社交界,并成为全场焦点.许多国家的王公贵族都想一试博得她的好感.青年贵族弗立德更是陷入了对神秘的伊莉莎一往情深中.
脾气古怪的希金斯对自己化腐朽为神奇的成绩雀跃不已,此时伊莉莎发现她的气质和身份仍然得不到真正的统一,纵使她已改变形象和气质,在希金斯眼中依然是一个不被尊重和被忽视的卖花女,或者说是他的战利品.伊莉莎气愤地对教授说：“没有你,每年仍会有春天；没有你,树上仍会有水果；没有你,艺术与音乐依旧能发展；没有你,西班牙的雨仍会下在平原上!”她决定离开希金斯,回到街头去找回自己.
然而,昔日的市友伙伴都把她视为上流社会的淑女而不与她相认,甚至连她那个不负责任的清道夫父亲阿尔弗里德,都因为希金斯的安排而变为绅士,不再是往日无忧无虑的无赖.走投无路的伊莉莎只得希金斯的母亲指点迷津.此时,希金斯正为伊莉莎失踪神不守舍,只是碍于男性自尊不肯认错和吐露感情.怀着矛盾的心情,希金斯回到家里,一边听着伊莉莎的练习录音带,以便回想她的音容笑貌；扬言不再见希金斯的伊莉莎在此时默默地回到他的身边.希金斯高兴而温柔地说道：“伊莉莎,我那该死的拖鞋哪儿去了?”.
将《皮格马利翁》改编成一部音乐剧是相当困难的.主要的问题是歌舞如何能自然地融入喜剧氛围中,另外还有众多小人物的处理上.他们决定更多采用萧伯纳的原著对话,并扩大演出场景.在《皮格马利翁》中,伊莉莎的课程设计得比较短小精悍,然而音乐剧就可以在这上面大做文章,将伊莉莎的进步分为三个阶段.
全剧的前2/3完全集中在希金斯对伊莉莎的训练上,两人之间只有“训练者”和“被训练者”的关系,编导得以在语音训练过程中细腻的刻画英语发音的趣味性,并宣扬高尚文雅英语的阴韵之美.象《西班牙的雨大部分下在平原上》一曲,就充分发挥了语音的音乐性和戏剧性,是全剧中最令人感到愉悦的精华片段.伊丽莎在学习标准英语发音的过程中,突然掌握了发音技巧,她慢慢地说,“The rain… in Spain … stays mainly in the …plain”（这是一句押韵的话）,希金斯教授和皮克瑞上校开始并不相信自己的耳朵,等他们反映过来时,三人兴奋地跳起了令人眩晕的探戈舞,最后气喘吁吁地躺倒在沙发上.这段表演成为了西方剧场中最令观众兴奋、激动的场景之一.而剧中另一处感人的场景是,穿着一套爱德华时代睡袍的伊丽莎已经完全出落成一位优雅的淑女时,感动了许多代多愁善感的人们.
赛马场和大使馆舞会两段大场面歌舞,在出色的美术设计烘托下,也让人感到美仑美奂,尤其凸显了伊莉莎的美丽和高贵气质.舞会中安排了匈牙利语言家卡巴西（Karpathy）不断设法刺探伊莉莎身份真相的插曲,使得考验伊莉莎是否过关的高潮更添紧张悬疑的趣味性.
该剧吸收了象征英国贵族社会尊严和地位的音乐、舞蹈元素.同时,勒纳和罗伊维又创作了萧伯纳风格的16首歌曲.其中“我可以整晚地跳舞”（I Could Have Danced All Night）、“在你居住的那条街”（On the Street Where You Live）、以及“我已经习惯了她的脸”（I’ve Grown Accustomed to Her Face）尤其出色.
值得一提的是为《窈窕淑女》编舞的是一位来自现代舞界的优秀编导、杰出教师汉雅·霍尔姆.汉雅·霍尔姆是美国现代舞坛的重要人物.她最大的贡献是将德国现代舞的科学理论与创作实践引进了美国,为美国现代舞的健康发展输送了新鲜的血液和营养,成为德国现代舞美国化的先驱.正是由于《吻我,凯特》和《窈窕淑女》才使得人们逐渐认识到她的才华.她同时促成了音乐剧界的“现代舞”这种舞蹈形式在20世纪30至40年代的崛起.而《窈窕淑女》是她在百老汇最大的成功.
1976年《窈窕淑女》（384场）得以复排,主演乔治·罗斯得到了托尼奖的最佳男主角奖；另一个版本是1981年的复排版.近年,伦敦西区又将《窈窕淑女》重新搬上了舞台.导演是特文·奴恩,编舞是马修·伯耐.由乔纳森·普里斯和马丁·马克卡钦主演.
该剧虽然有多个版本,然而最令人难忘的仍是50年代的舞台版和60年代的电影版,以及它们分别的女主角.百老汇音乐剧《窈窕淑女》在欧美舞台上的大获成功,为1964年同名影片的成功奠定了基础.
早在1938年英国的加布里埃尔·帕斯卡制片公司就曾将萧伯纳的名剧《皮格马利翁》搬上过银幕,多少年来一直盛演不衰,加之1956年成功的百老汇音乐剧版本,使得“华纳”公司预见有利可图.1964年,华纳公司首席老板杰克·L·华纳又有惊人之举,毅然创纪录地花费550万美元买下了百老汇的走红音乐剧《窈窕淑女》的拍摄权,并自己亲自担当监制,再度将它改编成歌舞片.
杰克·华纳还特地聘请“女性电影”巨匠,捧红了不少女明星的乔治·库克担任影片导演.片中导演在场面调度和镜头安排上作出了高明的处理.比如在希金斯和皮克瑞回家后大肆庆祝实验成功而无视伊莉莎存在的一场关键转折的戏,伊莉莎在热闹的场面中,一直默默地远远地站在门边和角落,看似一具塑像般,没有一个单独的近镜头落在伊莉莎身上,但她的惊愕和失望却都从肢体语言中表达出来；所以当众人离开房间,她伏地痛哭的画面就格外悲痛动人.影片自此转向了较具社会批判性的主题：争取女性尊严.大男人主义的希金斯借歌唱来宣扬男人的长处,而身份觉醒后的伊莉莎一再对希金斯表达她的立场,希望希金斯可以对她多一点理解、多一点关心,把她当成朋友,而不是个实验品.影片的结局停留在伊莉莎回到希金斯家,却没有明显点出是否“有情人终成眷属”,既避免了大团圆的滥情,也为这场“男人与女人的斗争”留下一些想象的空间.
《窈窕淑女》耗资3200万美元,堪称电影史上令人心驰神荡的超纪录奢华巨片、布景富丽,服装华美、考究,宴会、舞会、剧院、赛马场等场面均拍得瑰丽多彩,美不胜收.该片的艺术成就很高,有许多优美的歌曲,因此被提名13项奥斯卡奖.后来同另一部歌舞片《欢乐满人间》展开激烈竞争,终于以最佳影片、最佳导演、最佳男主角、最佳艺术执导、最佳摄影、最佳歌曲、最佳服装设计与最佳音响效果等8项奖,战胜了获得5项大奖的《欢乐满人间》.
不过扮演伊莉莎的奥黛丽·赫本却在同年的奥斯卡角逐中输给了百老汇舞台上的“窈窕淑女”朱丽·安德鲁斯.来自英国的歌舞演员朱莉·安德鲁斯因在百老汇主演了《窈窕淑女》,十分走红.但是在考虑由谁扮演剧中淑女艾丽莎时,老板杰克·华纳仍觉得安德鲁斯名气不大,并认为她“不上镜”,决定换由名气如日中天的奥黛丽·赫本主演卖花女伊丽莎.他们认为,仅凭赫本这个名字就足以这部电影成功.所以华纳一锤定音,舍弃了舞台上轰动一时的扮演伊莉莎的女星朱莉 ·安德鲁斯,以100万美元的片酬邀来遐迩闻名的奥黛丽饰演伊莉莎.
但凑巧的是,没能以银幕“窈窕淑女”的身份再度辉煌的朱丽·安德鲁斯却应迪斯尼影片公司之邀主演《欢乐满人间》,这部影片也获得了巨大成功.安德鲁斯最终摘取了最佳女主角的桂冠.
《窈窕淑女》中奥黛丽的表演异彩纷呈,游刃有余.无论是朴实粗俗的卖花女还是雍容华贵的名媛,她都演来得心应手,恰到好处,轻歌曼舞更使她充分发挥所长.《窈窕淑女》在奥斯卡的角逐中成绩斐然,她的功劳不可埋没.但在《窈窕淑女》一片获得1964年度奥斯卡史上少有的最佳影片等八项奖之际,在其中作为顶梁柱的赫本却连提名都没有.
真不知当不会唱歌的赫本与奥斯卡失之交臂,而朱丽却因主演另一部影片而获此殊荣时,杰克·华纳会怎么想.
很多人认为奥黛丽没能获奖的原因主要集中在两点上,其一：投票者们认为片中歌曲是别人配唱的,用别人的歌声来为自己配音是“欺骗行为”；其二：电影界人士对在舞台上扮演伊丽莎的大名鼎鼎的朱丽·安德鲁斯未被起用感到愤慨.同情安德鲁斯的气氛传遍了好莱坞,赫本落得要在各个地方接受他们的报复.
这个消息虽然使赫本感到震惊,但善良的本性使她觉得这个结果是公平的,但赫本影迷们对此却愤愤不平,连安德鲁斯也公开表示：“赫本应当获提名”.为缓和众怒,赫本被邀请颁发当届的最佳男主角奖,而该奖获得者就是在《窈窕淑女》中与赫本合作的男主角扮演者哈里森.赫本表现得大度、自信和愉快,并千里迢迢专程从欧洲拍片现场赶来颁奖,还向安德鲁斯表示祝贺,甚至事后给她送去一大束鲜花.而赫本自己则收到了一大扎慰问电报,其中有一份来自好莱坞的另一个赫本——凯瑟琳·赫本,电报中说：“别为落选而烦恼,说不定哪天你会因为一个连提名都不值得的角色而获奖.”在颁奖仪式上,几乎每一个《窈窕淑女》的获奖者都在领奖时说：“我要感谢奥黛丽·赫本的精彩表演.”只有哈里森（Rex Harrison）不知谈什么才好,因为两部《窈窕淑女》里他都是男主角,他在舞台上与安德鲁斯搭档成功,在影片中又与赫本配合默契,此刻他手拿金像不知感谢哪位“淑女”才好,终于,他结结巴巴地说：“我要向,唔……两位窈窕淑女表示敬意”.

my pretty girl!

My Fair Lady is an Academy Award-winning 1964 film adaptation of the stage musical, My Fair Lady, based in turn on the play Pygmalion by George Bernard Shaw. The film was directed by George Cukor and ...

全部展开

My Fair Lady is an Academy Award-winning 1964 film adaptation of the stage musical, My Fair Lady, based in turn on the play Pygmalion by George Bernard Shaw. The film was directed by George Cukor and stars Audrey Hepburn and Rex Harrison.
Plot
Henry Higgins (Rex Harrison), an arrogant, irascible professor of phonetics, boasts to a new acquaintance, Colonel Pickering (Wilfrid Hyde-White), that he can teach any woman to speak so "properly" that he could pass her off as a duchess. The person whom he is shown thus teaching is one Eliza Doolittle (Audrey Hepburn), a young woman with a strong Cockney accent who is selling flowers on the street. After overhearing this, Eliza finds her way to the professor's house and offers to pay for speech lessons, so that she can work in a flower shop. Pickering is intrigued and wagers that Higgins cannot back up his claim; Higgins takes Eliza on free of charge as a challenge to his skills.
Eliza's father, Alfred P. Doolittle (Stanley Holloway), a dustman, arrives three days later, ostensibly to protect his daughter's virtue, but in reality simply to extract some money from Higgins, and is bought off with £5. Higgins is impressed by the man's genuineness, natural gift for language and especially his brazen lack of morals (Doolittle explains, "Can't afford 'em!").
Eliza goes through many forms of speech training, such as speaking with marbles in her mouth and trying to recite the sentence "In Hertford, Hereford, Hampshire, hurricanes hardly ever happen" without dropping the 'h', and to say "The rain in Spain stays mainly in the plain" rather than "The rine in spine sties minely in the pline". At first, she makes no progress (due to Higgins's harsh approach to teaching), but just as she, Higgins, and Pickering are exhausted and about to give up, Higgins softens his attitude and gives an eloquent speech about the beauty and history behind the English language. Eliza tries one more time and finally "gets it"; she instantly begins to speak with an impeccable upper class accent.
Higgins takes her on her first public appearance to Ascot Racecourse, where she makes a good impression with her stilted, but genteel manners, only to shock everyone by a sudden and vulgar lapse into Cockney; "C'mon Dover, move your bloomin' arse!". Higgins, who dislikes the pretentiousness of the upper class, partly conceals a grin behind his hand, as if to say "I wish I had said that!"
The bet is won when Eliza successfully poses as a mysterious lady of patently noble rank at an embassy ball, despite the unexpected presence of a Hungarian phonetics expert trained by Higgins. Higgins's callous treatment of Eliza afterwards, especially his indifference to her future prospects, leads her to walk out on him, leaving him mystified by her ingratitude. When she is gone however, he comes to the horrified realization that he has "grown accustomed to her face". Putting aside his resentment about the intrusion on his life and toward women in general, Higgins finds Eliza the next day and attempts to talk her into coming back to him. During a testy exchange, Higgins' ego gets the better of him, and his former student rejects him.
Higgins makes his way home, stubbornly predicting that Eliza will be ruined without him and come crawling back. However, his bravado collapses and he is reduced to playing old phonograph recordings of her voice lessons. To Higgins' great delight, Eliza chooses that moment to return to him. The last words are from Higgins: "Eliza.. where the Devil are my slippers?" This differs from the original play's resolution (see Pygmalion ending).
Andrews versus Hepburn
It was never assumed that the lead role in the film would go to Julie Andrews, who had played Eliza in the stage version to great critical acclaim. Audrey Hepburn was cast instead (despite lobbying from screenwriter Alan Jay Lerner), because Jack Warner of Warner Brothers wanted a box office star, and at the time Andrews was an untested screen presence. Elizabeth Taylor reportedly fought long and hard for the role as well. The casting controversy did little to hurt Hepburn's career. Andrews' subsequent Academy Award for Mary Poppins - and the lack of a nomination for Hepburn - was seen by many as vindication for Julie Andrews, though both actresses denied that there was ever any animosity between them. Years later, when Warner Bros. offered Andrews the role of Guinevere in the film adaptation of the Lerner & Lowe musical Camelot (which she also originated to great acclaim on Broadway), Andrews asked for a cool $7 million, and as a consequence, politely declined the offer. Vanessa Redgrave took the role, although she was quoted as saying that, had Julie Andrews wanted to play the role, she certainly would have.
[edit] Dubbing
Hepburn's singing was judged inadequate, however, and she was dubbed by Marni Nixon. Some of Hepburn's original vocal performances for the film was released in the 1990s, affording fans of the actress to judge whether the dubbing was necessary. Less well known is the dubbing of Jeremy Brett's songs (as Freddy) by Bill Shirley[1].
No dubbing was done for Rex Harrison, even though his singing voice was closer to speaking on pitch and rhythm than to true singing. In addition, the actor declined to pre-record his musical numbers for the film, explaining that he had never sung the songs the same way twice and thus couldn't convincingly lip-sync to a playback during filming (as musical stars had been doing in Hollywood since the dawn of talking pictures). In order to permit Harrison to sing his songs live during filming, the Warner Bros. Studio Sound Department, under the direction of George Groves, implanted a wireless microphone in Harrison's neckties, marking the first time in film history that one was used to record sound during filming. André Previn then conducted the final version of the music to the voice recording. The sound department earned an Academy Award for its efforts.
[edit] Copyright issues
The head of CBS put up the money for the original Broadway production in exchange for the rights to the cast album (through Columbia Records). When Warner bought the film rights for the then-unprecedented sum of $5 million, it was agreed that the rights to the film would revert to CBS seven years after its release. Warner owned the film's original copyright, but it was renewed by CBS due to the 1972 rights reversion. Currently, Warner owns the DVD rights to the film (under license from CBS), while CBS corporate cousin King World now owns the television rights. A VHS release by Paramount Pictures in 2001 is currently out of print.

收起