George Bernard Shaw on Choosing a Mate

my-fair-lady

Photo | My Fair Lady (1964)

When it comes to the mate-choosing phenomenon, George Bernard Shaw had some rather keen observations at the conclusion of, Pygmalion.  He worded them so eloquently, I will share them verbatim, but first about the play.

The film, My Fair Lady (1964) was based on the play by George Bernard Shaw who borrowed the plot from the myth of Pygmalion. The original story was written by Ovid, back in the day and goes something like this:

There lived a top notch sculptor, who sculpted a top notch sculpture. His skills were so top notch that his statue came out to be more than he bargained for. His medium was ivory and his matter was a woman.  His ivory woman was so perfectly sculpted under his skillful chisel that to his shame he fell madly in love with her. Despite the fact that she was ivory. But phew! Venus, the goddess of love came to his rescue. She felt pity for him and brought the love of his life to life.  The sculptor married his sculpture and they lived happily ever after— or so we will conclude for now.
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Now back to Shaw’s observations. Since they did not fit into the play he just threw them into the epilog as a freebie:

“Women, like men, admire those that are stronger than themselves. But to admire a strong person and to live under that strong person’s thumb are two different things. The weak may not be admired and hero-worshiped, but they are by no means disliked or shunned, and they never seem to have the least difficulty in marrying people who are too good for them. They may fail in emergencies, but life is not one long emergency: it is mostly a string of situations for which no exceptional strength is needed, and with which even rather weak people can cope if they have a stronger partner to help them out.

Accordingly, it is a truth everywhere in evidence that strong people, masculine or feminine, not only do not marry stronger people but do not show any preference for them in selecting their friends. When a lion meets another with a louder roar “the first lion thinks the last a bore.” The man or woman, who feels strong enough for two, seeks for every other quality in a partner than strength.

The converse is also true. Weak people want to marry strong people who do not frighten them too much, and this often leads them to make the mistake we describe metaphorically as “biting off more than they can chew.” They want too much for too little; and when the bargain is unreasonable beyond all bearing, the union becomes impossible: it ends in the weaker party being either discarded or Bourne as a cross, which is worse. People, who are not only weak but silly or obtuse as well, are often in these difficulties.”

Here, here now… think about this before your next date.

Babette’s Feast (1987): The Best French Meal You Ever Saw

 

“Quite definitely, this is genuine turtle soup.  Slurp. It is truly the best Turtle Soup I’ve had in years.”  Slurp-slurp.  This Danish film will awaken your taste buds and leave you dreaming of genuine Turtle Soup and Clos de Vougeot 1845, for many sleepless weeks.  The film is a feast for all senses.

I once wrote a very long film analysis comparing the film, Babette’s Feast (1987) with the book by Isak Dinesen.  I had to re-watch it multiple times, I mean really watch it on VHS because that was the only version I could track down after hunting through every library in the county.  Despite the whizzing of video rewinding, I’d watch it again with anyone who doesn’t mind sitting through a very slow, deeply moving, work of art, with sub-titles.

“General Galliffet, who was our host for the evening, explained that this woman, this head chef had the ability to transform a dinner into a kind of love affair— a love affair that made no distinction between bodily appetite and spiritual appetite.” But you have to watch it understand.

GIFF’S | HERASYED

Carmen by Georges Bizet

Like all opera, Carmen by Georges Bizet is performed in foreign tounges and I had to unravel the story before seeing it on stage.

It helps to get the story before getting swept in the emotional power of big operatic voices and in this case the beauty of ballet dance during overtures.

The opera is based on a story by the French novelist Prosper Meimee, performed in French, set in Seville around 1820. The story goes like this:

Don Jose is a corporal who received a visit from the fair Micaela. She is his dear, modest childhood friend who came to bring tidings from his mother and most importantly: a kiss. His heart is struck and in an aside he declares his love for her and resolves to marry the gentle Micaela.

All is sweet and rosy until his quarters are stormed by a herd of cigarette-factory girls and the feistiest of the bunch sets her fiery eyes on him. At first Don Jose seems unaffected but “L’amour est un oiseau rabelle” she throws a flower at him and leaves him (and every other man) enchanted by her charms. Don Jose quickly forgets his fair Micaela and is entirely intoxicated by the aroma of Carmen’s flower.

Passionate love duets resonate: she’s in love with him, he’s in love with her… this goes on for about an act– then entrée un rival— Carmen falls in love yet again and the unlucky Don Jose is sent off to simmer in a puddle of jealousy.

The fourth and final act opens with a great festive scene in the streets of Seville as Carmen declares her undying love for Escamillo. Meanwhile, Don Jose is looming in the crowds and although Carmen is warned of the impending danger, she displays her courage and goes out to meet her jealous lover. He embarks in an arduous struggle to win back her love, but to no avail. She will not have him, he will not let himself “not be had” and dum-da-duh– overtaken with passion he seizes Carmen and thrusts his dagger into her heart.

The crowd gasps. The curtain falls.

Rear Window (1954) — Alfred Hitchcock

Photo | REAR WINDOW (1954)

Alfred Hitchcock’s, Rear Window (1954) is a must see for two reasons:
Reason number one is that it portrays people watching at its finest.
Reason number two is that everything Grace Kelley wears is fabulous, like her.
Unnumbered reasons include, but are not limited to the clever wit and as with all of Hitchcock’s film, cinematographic superiority, perfectly designed sets and those over exaggerated, yet charming facial expression all over the face of Jimmy Stuart.

Currently Watching The Great Gatsby | F. Scott Fitzgerald

Fashion for the men?
Pearls.  Champagne.  Parties.  More champagne.  Jazz.  A little more champagne.  What does all this bring to mind?  The roaring twenties, of course. The era in which the popping of corks was the soundtrack to which existed the one side of the social ladder, while the clanking of industrial wheels was the rhythm to which danced the other.
Mia Farrow and Robert Redford bring Fitzgerald’s, The Great Gatsby to life with all of the necessary white roses, dazzling parties and endless bubbles.

If you were a diligent, young student during your high school years and actually read the great American classic, you will find Jack Clayton’s (1974)  film a charm, charm, charm.