For which two reasons do you think the director may have added the bath scene to the film version of Pygmalion?

Watching the play’s film version will probably affect how I perceive it. Reading the play enabled to me to imagine certain aspects as the appearance of the characters and the look of the sets. The film will follow the director’s vision, which may be different from my interpretation of the play. The actors’ performances and the sets may differ from how I originally perceived them as I read the play. Take this excerpt for example:

THE BYSTANDER (to the girl): You be careful: give him a flower for it. There's a bloke here behind taking down every blessed word you're saying. (All turn to the man who is taking notes).

THE FLOWER GIRL (springing up terrified): I ain't done nothing wrong by speaking to the gentleman. I've a right to sell flowers if I keep off the kerb. (Hysterically) I'm a respectable girl: so help me, I never spoke to him except to ask him to buy a flower off me. (General hubbub, mostly sympathetic to the flower girl, but deprecating her excessive sensibility. Cries of Don't start hollerin. Who's hurting you? Nobody's going to touch you. What's the good of fussing? Steady on. Easy, easy, etc., come from the elderly staid spectators, who pat her comfortingly. Less patient ones bid her shut her head, or ask her roughly what is wrong with her. A remoter group, not knowing what the matter is, crowd in and increase the noise with question and What's the row? What she do? Where is he? A tec taking her down. What! him? Yes: him over there: Took money off the gentleman, etc. The flower girl, distraught and mobbed, breaks through them to the gentleman, crying mildly) Oh, sir, don't let him charge me. You dunno what it means to me. They'll take away my character and drive me on the streets for speaking to gentlemen. They—

THE NOTE TAKER (coming forward on her right, the rest crowding after him): There, there, there, there! Who's hurting you, you silly girl? What do you take me for?

THE BYSTANDER: It's all right: he's a gentleman: look at his boots. (Explaining to the note taker) She thought you was a copper's nark, sir.

When I read the play I found that excerpt to be very dramatic and humorous. I also thought it was slightly ironic because the man taking notes is not really a cop, so Eliza is worrying and fretting for nothing. I wonder how the director will portray this scene. The director could dramatize it just as it has been done in the play or perhaps bring out the scene’s humor using a more subtle approach.

Explanation: The answer that was provided.

Watching the play’s film version will probably affect how I perceive it. Reading the play enabled to me to imagine certain aspects as the appearance of the characters and the look of the sets. The film will follow the director’s vision, which may be different from my interpretation of the play. The actors’ performances and the sets may differ from how I originally perceived them as I read the play. Take this excerpt for example:

THE BYSTANDER (to the girl): You be careful: give him a flower for it. There's a bloke here behind taking down every blessed word you're saying. (All turn to the man who is taking notes).

THE FLOWER GIRL (springing up terrified): I ain't done nothing wrong by speaking to the gentleman. I've a right to sell flowers if I keep off the kerb. (Hysterically) I'm a respectable girl: so help me, I never spoke to him except to ask him to buy a flower off me. (General hubbub, mostly sympathetic to the flower girl, but deprecating her excessive sensibility. Cries of Don't start hollerin. Who's hurting you? Nobody's going to touch you. What's the good of fussing? Steady on. Easy, easy, etc., come from the elderly staid spectators, who pat her comfortingly. Less patient ones bid her shut her head, or ask her roughly what is wrong with her. A remoter group, not knowing what the matter is, crowd in and increase the noise with question and What's the row? What she do? Where is he? A tec taking her down. What! him? Yes: him over there: Took money off the gentleman, etc. The flower girl, distraught and mobbed, breaks through them to the gentleman, crying mildly) Oh, sir, don't let him charge me. You dunno what it means to me. They'll take away my character and drive me on the streets for speaking to gentlemen. They—

THE NOTE TAKER (coming forward on her right, the rest crowding after him): There, there, there, there! Who's hurting you, you silly girl? What do you take me for?

THE BYSTANDER: It's all right: he's a gentleman: look at his boots. (Explaining to the note taker) She thought you was a copper's nark, sir.

When I read the play I found that excerpt to be very dramatic and humorous. I also thought it was slightly ironic because the man taking notes is not really a cop, so Eliza is worrying and fretting for nothing. I wonder how the director will portray this scene. The director could dramatize it just as it has been done in the play or perhaps bring out the scene’s humor using a more subtle approach.

Explanation:

The plato answer

tom robinson he was a black man that was accused of raping caucasian woman, and an idealistic lawyer offers to defend him. which makes nobody believe in the innocence of a negro.