Educating Rita

I was introduced to this movie when I was 5 and though I had no idea about the issues being dealt with I was mesmerized. As an American child I was fascinated by the "ultra-odd" culture and cars and streets and language and I loved every second of it. I think I've judged every film since by this one which would explain why I've never really enjoyed the "Hollywood happy ending". I think my favorite line is when Rita says, "It's fun, tragedy, isn't it?". AMEN. I rediscovered it in college and understood that Rita's journey for education came full circle, without convenient resolution, and I can completely relate. Great acting, great directing, truly a human drama ... I'd long for a sequel if sequel's weren't so damn awful. Brava Julie!

"Educating Rita" is not a huge motion picture. It portrays no earth shattering events. It teaches no overpowering moral lessons. It does not look into the depths of the human soul. This is a little motion picture, but like many little things, it is wonderful.

Educating Rita is really a filmed stage play. Julie Walters played the part of Rita on the stage. Michael Caine joins her as Frank in the film version and really puts his heart into the performance. The author shows you surprisingly little about the two characters and yet tells you a very great deal, and most importantly, he lets them grow as they must, not necessarily as we'd wish them to.

I cannot recommend this film highly enough. Watch it with somebody you like.

What delights me most about this movie is that in early 2006 it finally came out on DVD. There is a minor glitch in the establishing scene at the beginning, but to see Rita once again in widescreen is almost like seeing it for the very first time.

Educating Rita is one of many re-tellings of Shaw's Pygmalion, itself based on a Greek myth, so the story is nothing new. Rita, as so many great British films, is based on a play, in this case by Willie Russell, who also collaborated with director Lewis Gilbert, who, in addition to directing several Bond features, also directed Michael Caine in his Oscar nominated title role in Alfie, on the delightful Shirley Valentine, cast in a similar vein. It would be easy to think of Rita as My Fair Lady without the Marne Nixon voice overs, but that would be, as a classmate of Rita's puts it, facile.

The combination of Michale Caine and Julie Walters is pure magic. Unlike Dudley Moore's lovable drunk, Caine's Frank Bryant is a drunk that is difficult to love, which makes him far more interesting. He wallows, not in self pity, which would be disgusting, but in the infinitely sadder depths of self acceptance and resignation to shortcomings. He is a failed drunken poet who has lost the capacity to feel his own life.

Enter Rita, a hairdresser who wants to learn literary criticism, but more importantly, learn a way out of a life that she feels all too well. From his jaundiced perspective, Frank fears that educating Rita would transform her into just another one of the lifeless women that litter his life, but Rita will not be denied. Gradually, through voracious consumption of the Canon of Western Literature, Rita learns what she believes to be a better song to sing.

But it's not that simple. Rita finds that people, even educated people, in the end, have only themselves to cling to, and Shaw, Blake, Ibsen and Chekov may help fill up the empty moments, but they can't take away the emptiness itself. What does Rita want? Frank? A baby? Her ex-husband? No. What Rita wants is choices, and the freedom to choose among them for herself, and getting there is warm and moving drama that elevates Educating Rita among the absolute best of its era and genre.

David Hentschel's synthesized soundtrack is absolutely wonderful. It is by now so obviously from another era that it allows you to be drawn even more into the film, giving it a more timeless than dated feel. The supporting cast is wonderful, including Michael Williams, who, aside from being Mr. Judi Densch for the last thirty years of his life, also received a Papal knighthood, and classically renowned actress Maureen Lipman who was later awarded a C.B.E. for her work in British theatre.

Ultimately, however, it is the sheer magic of Caine and Walters, no less so than with Harrison and Hepburn in My Fair Lady, that gives Rita the boundless charm, wit, and passion that have made it one of my favorite films of all time.

Rita White, a young Liverpool hairdresser, enrols on an Open University course to study literature. (This is a scheme in Britain whereby adults can study for a degree at home). In Willie Russell's original stage play, there were only two characters, Rita and her tutor Frank Bryant. The screenplay (also written by Russell) opens up the action to bring in other characters, but Rita and Frank are still very much at the centre.

They are very different. She is intelligent with a sharp wit, but with little formal schooling, whereas he is a highly qualified middle-class academic. She has not enrolled in higher education in her mid-twenties to earn more money or to get a better job, but rather because she believes in education for its own sake. She wants to study literature as a means of self-realisation and as a way of getting a wider perspective on the world. As she puts it, she "wants to sing a better song". In doing so, however, she comes into conflict with her working-class family, who have no sympathy with her intellectual aspirations, and her cheerfully Philistine husband Denny, whose only desire is to start raising a family.

The irony of the film is that Frank possesses what Rita most earnestly desires- learning and culture- but does not appreciate it. In his youth, when he was a published poet, he doubtless shared her ideals, but now in middle age he is a bored, cynical alcoholic. He gave up writing poetry after the breakdown of his marriage and his relationship with his girlfriend Julia is also collapsing. (She is having an affair with one of his colleagues). He turns up drunk to lectures and mocks his students and the university authorities. Although he still earns a living from teaching literature, he has lost his enthusiasm for the subject.

Despite their differences, Rita and Frank become friends, probably because he retains just enough idealism to be touched by her naive enthusiasm. This comes across in the scene where she rushes to tell him of her excitement at seeing a production of "Macbeth" or the one where he introduces her to Blake. Initially Rita has more enthusiasm for the subject than understanding, but she makes good progress, and is eventually able to discuss literature on equal terms with Frank's college students. She becomes a waitress, which gives her more time to study. Her appearance changes; originally a bleached blonde in mini-skirt and high heels she returns to her natural brunette looks and dresses more conservatively. She reverts to her real name, Susan, abandoning "Rita" which she adopted in honour of the writer Rita Mae Brown.

Frank, however, is not happy with the change in her personality. He has become disillusioned with the idea that culture is desirable, and dislikes the way in which the naive but spontaneous and amusing Rita has given way to the more analytical, intellectually aware Susan, whom he sees as pretentious. (He insists on calling her "Rita" even after she has ceased using the name). He accuses himself of being a Frankenstein who has created a monster, and her of singing not a better song, merely a different one which on her lips sounds shrill, hollow and tuneless. This, of course, causes difficulties between them. Susan's success has been achieved at considerable personal cost because her marriage to Denny has collapsed- he burnt her course-books in a fit of rage after discovering that she was taking the Pill in order to delay having children- and she has become estranged from her family, who sided with Denny over the divorce.

If this had been a Hollywood production, it would doubtless have been made as a traditional rom-com, with a happy ending as Frank and Susan fall in love. What we actually have is a film of ideas, with a much more ambiguous ending. The central question is "What is the value of culture and education?" Should one value these things, or question their value as Frank does? Although some reviewers have sympathised with Frank, my sympathies are with Susan; his belittling of her aspirations seems patronising, and there is some justice in her accusations that he liked her better in the early days of their relationship because he was amused by her ignorance and naivety. His apparent disillusionment with his own achievements may reflect not humility but rather a deeper arrogance- the arrogance of the man who mistakes his own cynical nihilism for a higher wisdom.

If that analysis of the film makes it seem very serious, it is not- it is often very funny with some wonderful lines delivered in two great performances by Julie Waters and Michael Caine. (There is also a brilliant, and very memorable, synthesiser score from David Hentschel).

I did not like the sub-plot involving Susan's flatmate Trish, a suicidally depressed culture-vulture, played by Maureen Lipman as an exaggerated caricature. ("Wouldn't you just die without Maaahler?") I also felt an opportunity was lost by filming in Dublin rather than Liverpool. Doubtless the Irish authorities offered a better financial deal, but it meant that the film lacks the authentic sense of place which marks so many of the best British films.

Those reservations apart, however, I loved the film. Its combination of wit, great dialogue, warmth and intellectual depth made it, in my view, easily the best film of 1983. Unfortunately, its chances of winning an Oscar were sabotaged by the fact that the British film industry was going through a brief but brilliant revival in the early eighties and British films- "Chariots of Fire" and "Gandhi"- had achieved the unprecedented feat of winning "Best Picture" in two successive years. A British hat-trick would have been a hurt to American national pride too serious to bear, so "Best Picture" went instead to that horrible tear-jerker "Terms of Endearment". 9/10

This wonderfully engaging and thought provoking movie far surpassed my expectations. It's an unusual variation on the old teacher / student story but with a mature twist that asks the viewer the question... Just which one of this pair is doing the teaching here, and exactly what is the subject?

Dr. Frank Bryant is an older, jaded, alcoholic college English professor. He's weary of the snobbish academic world, which he mocks with contempt, and weary of dissecting meaning out of literature for the pretentious but unenthusiastic students in his classes. He's assigned to tutor Rita, a feisty, uneducated Liverpool hairdresser / housewife in her mid 20's, who has enrolled in a college class to improve her language skills and also really to develop her mind. Frank finds Rita literally a breath of fresh air, chuckling at her amusing definition of the word 'assonance' and uncharacteristically moved by her candor, her respect for education, her bubbling eagerness to learn and develop. Frank actually prefers that she remain exactly as she is, fearing she'll come to resemble the pompous snobs to which he's grown all too accustomed, walking the halls of academia all around him.

Both teacher and student here already have 'significant others'. Frank is romantically involved with another teacher, Julia, who is carrying on an affair literally under his nose, so his personal life is in equivalent shambles to his professional situation. Rita is married to the uneducated, working class Denny, who's eager to start a family. She is secretly taking birth control pills, wanting to explore her own and life's possibilities before having children. Obviously conflict emerges here between this couple, with Denny actually quite a sympathetic character. He's not the villain of the piece at all (from my viewpoint), even though he does burn Rita's books, certainly not something to applaud. He just wants the simple things of life, obviously disapproving of his wife's educational endeavors for fear she'll grow away from him.

Michael Caine, in the role he was born to play, is completely convincing as the drunken, disillusioned Frank, who cannot get through his day without a drink. Julie Walters is equally perfect as Rita...first the earlier blonde, uneducated but academically keen housewife / hairdresser, and later the sophisticated woman into which she's transformed.

The dialogue is witty, and the rich relationship that develops between Frank and Rita compelling. No sex scenes here, just discussions of literature and mainly of life. These are two memorable characters that will truly engage your concern. After some additional courses abroad, Rita undergoes an amazing Pygmalion style metamorphosis in admittedly, as some have criticized, a rather unbelievably short time. She is transformed from the original naive, uneducated, working class housewife to a sophisticated literary critic...though her core, in my opinion, remains fundamentally unchanged.

As for the ending, I won't give it away. Will a May December romance emerge from all this tutelage as with that other Pygmalion pair, Henry Higgins and Eliza Doolittle, of My Fair Lady fame? Or will these two ultimately go their separate ways, each altered forever by the other's influence? Personally, the moving, emotional ending left me feeling satisfied that the screenwriters had done their job right. Don't miss this sparkling and intelligent movie which casts attitudes toward education in such a compelling light.