Henry Higgins’ character is appropriated from the artist Pygmalion and there are many similarities between the two. Higgins shares the same distaste for women as Pygmalion in the myth. This is evident when he describes them as ‘nothing but a damned fool of a fashionable woman’ (Act IV). The differences in their attitudes show how women have changed over time. Higgins also has the same passion for creation as Pygmalion, as he is obsessed with Eliza’s transformation. Just as the artist Pygmalion falls in love with his creation, so too does Higgins. Although he is not romantically in love with Eliza, he is dependent on and fond of her. This is shown when Eliza is leaving and he admits ‘I will miss you Eliza’ (Act V p98). Shaw has appropriated Higgins, an accessible character with a defined humanity and individuality. A realistic character like Higgins allows audiences to understand issues in society reflecting context, such as role of women, social status and class.
In the Myth, the concept of an object such as the statue being owned by its creator is appropriated so that it is relevant to the play’s context. Higgins ‘owns’ Eliza as he has bought and paid five pounds for her. There are also references to the myth to support this, such as when Mrs. Higgins tells Henry that Eliza is ‘a triumph of your art’ (p62). Higgins also treats her as an object, as he has made a bet on her with no regard for her feelings. This is clearly shown when Eliza exclaims, “I am nothing to you – not so much as them slippers”.
The transformation of Eliza is presented through language, which didactically reflects Shaw’s own ideas on social distinctions caused by phonetics. Through her lessons with Higgins, Eliza’s cockney accent is eventually transformed into English that is perfect in terms of pronunciation and grammar. An example of this is from ‘Tә-oo banches o voylets trod into the mad’ to perfect English like that of ‘Queen Victoria’. This aspect of her transformation suggests the possibility of people improving their station in life and relates to the context of the play, where successful people from poor areas were sometimes raised to middle class status.
Shaw’s Pygmalion is not the only appropriation of the ancient Myth. Garry Marshall appropriates the Myth into a modern film, Pretty Woman. Whereas Pygmalion is a social critique of its time, Pretty Woman falls under the genre of a Romantic Comedy. Set in Hollywood in the 1990s, it no longer has the English class divisions of Shaw’s Pygmalion, as the division now lies between the wealthy and the poor. The opportunity for wealth and a better life is available for those who are determined, such as Vivian, a prostitute on the streets.
Vivian’s transformation begins with Edward Lewis, who requires a female partner for business purposes. He does not hesitate to allow her to fulfill that role, despite the fact that she is a prostitute. This would not have happened in earlier times and clearly reflects open, late 20th century values and changing morality. In Vivian’s case, prostitution is where intimate sexual relationships are cheapened and commercialized. The importance of relationships is further diminished by suggestions in the film that relationships are secondary to money and business. In the film’s opening scene at Edward’s party, money is part of a magic trick. This gives the impression of modern society involving wealth, business and the tricky associated with the two.
The setting of Hollywood Boulevard is dramatically contrasted to Edward’s world of money and business. An example is the black hustler in the streets who hollers, "This is Hollywood where people come to fulfill their dreams!” Ironically, his comments are juxtaposed by shots of drug dealers, an ambulance rushing past and prostitutes to represent aspects of social decay. The film presents serious issues in society in a light-hearted way as common to Hollywood cinema. An example is when Edward suspects Vivian of using drugs when she is actually using dental floss. Despite the humour in the situation, its underlying issues deal with stereotypical views of prostitutes and drugs to reflect cultural context.
The transformation of Vivian is presented visually through filmic devices such as body language, costume and camera. An example of this is before her first night out with Edward, when she wears a new dress. The changes are apparent, as Edward is unable to recognize Vivian waiting in the hotel lobby. Marshall uses camera to dramatically present the extent of this transformation through a paused shot of Edward’s surprised expression. Transformation in her body language is also presented visually as Vivian no longer fidgets and walks with more grace after a few days.
Our perception of Vivian’s change is also shaped by the way others view her. When shopping at Rodeo drive, stereotypical views towards prostitutes are conveyed when shop assistants refuse to serve her, as she is dressed inappropriately. She later returns dressed as a rich woman and we see the contrast in their attitude towards her, now polite and helpful. A similar situation occurs between people in the hotel lobby. Their prejudice towards prostitutes is shown visually through expressions of distaste. However, after her transformation it shows the same people staring in awe of her beauty as she walks past. This demonstrates the way wealth and class is associated with appearances to reflect values and attitudes of the 90s.
The jewels that Edward borrows for her is another element of appropriation from the Myth, and are also used in Shaw’s Pygmalion. Whilst Pygmalion adorns his statue with jewels, so too does Higgins with Eliza and Edward with Vivian. However it is appropriated as Vivian is transformed into a rich woman through such jewels, typical to the context of Hollywood in the 90’s.
Edward Lewis falls in love with Vivian just as Pygmalion did with his ivory statue. The sexuality of their romance is somewhat muted, as their love scenes neither vulgar nor crude. It is filmed through latticework with filtered light and accompanied by music. These filmic devices serve to highlight the romantic atmosphere as appropriate to genre and reflect context. Unlike the Myth, problems arise in their relationship, as shown by Vivian’s uncertainty about what will become her future. This is evident when Edward wants to buy an apartment for her and provide her with luxuries, but Vivian replies sarcastically ‘What else? You leave some money by the bed every time you pass through town?” Their relationship is an appropriated element so that the audience gains a realistic view of modern relationships as opposed to the idealistic world of the myth.
In the film, there is a reversal of roles between Edward and Vivian compared to Pygmalion and Galatea in the Myth. Vivian transforms Edward’s attitudes and beliefs towards business, allowing him to realize his actions have been unethical. Edward’s changes are shown by the way he takes a day off work and decides to help Mr. Morse. Gender roles are also reversed and there is less male dominance. Despite her prostitution, Vivian is an independent woman and it is she who gives Edward directions when he is lost and drives his car to the hotel. Vivian is an example of the changing role of women in a modern society, and her character allows audiences to understand social context of the film.
The form of each text also reflects the context of each composer’s time. Shaw’s Pygmalion is in the form of a play, to be performed in theatres to the middle and upper classes as entertainment. On the other hand, Pretty Woman takes the form of a Hollywood romantic comedy and its medium is film. By doing this, many visual aspects are used to reflect the appropriated elements from the Myth such as Vivian’s transformation. Its suitability for a modern, visually attuned audience reflects the culture of today. Film also allows meaning to be conveyed through sound. An example of this is their opera night, and the song ‘Fallen’ by Lauren wood accompanies their trip by plane. This not only sets the romantic atmosphere by also reflects context.
Shaw’s Pygmalion and Pretty Woman by Garry Marshall are both texts appropriated from the Pygmalion Myth. Written almost a century apart, there are significant differences in terms of language, form and values. Each of these has been used to convey values and attitudes relevant to the culture of that time, so that their audience readily relates to and accepts them. Despite using some elements from the Myth, each has been uniquely appropriated by the composer to reflect its context.
