In some situations, to realize what you are yearning, the help of someone else is necessary. The first myth archetype that both, the film and the play, adapt is the mentor. The standard form of this myth archetype is that there is usually a character that helps …show more content…
The second myth archetype that the play and the film, both include is the crossing of the threshold. The classic form of this archetype, according to Joseph Campbell, is the point when the hero takes off from their habitual environment and moves into a new, alienated society. The film, Mighty Aphrodite, transforms this archetype the day Linda meets Lenny. When they meet, Lenny pays her to talk and not have sex, so this is unfamiliar because her relationship with Lenny is strictly platonic, except for one slip near the end of the film. However, the first time she crosses the threshold into the unfamiliar world is when she goes on the date with Kevin. Pygmalion transforms this archetype when Eliza goes to Higgins’ house unexpectedly. Although, the first time Eliza is tested in this new, unfamiliar world is when Higgins invites her to his mother’s “at-home” (Shaw 55). In both works, Eliza and Linda begin to enter their unfamiliar worlds the day they meet their mentor. Also, in both situations, the first time they are tested in their new worlds is set-up by their mentor, as if without their guide, they would not have gotten the chance to cross this threshold. Even though this first try at this new world may not work out, optimism and resilience are needed to give it another shot, and when you have someone to guide you, it is easier to stay …show more content…
These adaptations and transformations occur to provide a message. Sometimes a mentor is needed to realize a goal, but because deceit and agony is a part of life, aspiration and fortitude are needed to complete this