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Notes -
I don’t know that the film portrays Higgins as suave or charming; maybe as a straight guy I’m just not picking up on what women would see in him, but to me Higgins comes off as a turbo-autistic and self-absorbed Confirmed Old Bachelor. The song “A Hymn To Him” implies that he’s at best an ardent misogynist (and not in the “believes in restrictions on female sexuality” feminist sense, but rather the purer “can’t stand to be around women, prefers the exclusive company of men” sense), at worst a self-closeted homosexual narcissist who is only capable of interacting respectfully with people who share his precise personality. However, I do agree that the ending of the film lets him off the hook.
That being said, maybe @FiveHourMarathon’s redpilled reading of the film is correct and that in real life Eliza would return to Higgins, whether because his domineering attitude and aloofness toward her are genuinely attractive, or because a woman from her background would recognize the obvious practical/financial downsides to a long-term relationship with Freddy and would decide instead on the pragmatic hard-headed choice to hitch her wagon to Higgins, as flawed and difficult as he may be.
Probably the best synthesis is simply to accept that straight plays and musicals have inherently different purposes. While there are examples of musicals with unambiguously tragic/unhappy endings, generally speaking (and this is especially true of Golden Age musicals like My Fair Lady) audiences are just never going to accept a bleak and emotionally-unsatisfying ending to a musical. Plays can get away with that because the genre conventions are far less hard-coded. My tastes lean toward preferring the bleak and unsparing ending - I’ve joked in the past that I never want to see another movie with a happy ending ever again - but I accept the realities of what it took to get the film made.
(Such as casting a lead actress who couldn’t sing and dubbing virtually every line of her singing in the film, and then not crediting the splendid Marni Nixon for her overdubbing. I love Audrey Hepburn as much as any straight man with eyes does, but the part should have gone to Julie Andrews, and thank god someone took a chance on her soon after and her full career was launched by The Sound Of Music.)
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