Tag: Pretty Woman

For my 90th rom-com review, I was trying to decide between Pretty Woman and Mystic Pizza. Both star Julia Roberts, but one launched her career (Mystic Pizza), and the other earned her a second Oscar nomination (after her supporting turn in Steel Magnolias).

Ultimately, I decided on Pretty Woman, given its status in the genre as one of the most revolutionary, iconic rom-coms. It was released in 1990 to some pretty harsh reviews and currently holds 62% on Rotten Tomatoes (if you care about that kind of thing). Despite the criticism (some valid, some vapid), Pretty Woman grossed over a half-billion dollars worldwide. It also helped propel Julia Roberts onto the Hollywood A-list.

I can acknowledge that for this review, I watched Pretty Woman with new, more mature eyes, as I try to do with every rom-com I loved in the ’90s. Did I find aspects of it problematic? Yes, of course, I did. I’m not entirely sure this movie would fly with audiences today – the hooker with a heart of gold needing and wanting to be saved from her lowly status by the wealthy, emotionally unavailable prince.

I want to think that modern views on sex work have evolved since 1990, and no one would use the term “hooker” in 2019 (though sadly, I’m sure plenty of people still do), but I also found that there are some aspects of Pretty Woman that felt fairly progressive.

Vivian Ward (Roberts) realizes her job is not ideal, but she makes the rules. She says who, when, and where… and how much. She gets tested, and she insists on condoms… she even flosses after strawberries and champagne because, you know, gum health is super important. Some moments in this movie still feel uncomfortably relevant – the belief that sex workers are not people, that they’re essentially open and available for anyone, whether they want it or not. Pretty Woman occasionally touches on these issues, but ultimately, the darker aspects of sex work remain glossed over, probably because this is still a Garry Marshall-directed rom-com.

When Edward Lewis (Richard Gere), a corporate raider on business in L.A., gets lost on his way to Beverly Hills, he is approached by a prostitute named Vivian, who is willing to give him directions to his hotel in exchange for cash. Edward agrees, and by the time they reach Edward’s hotel, the two of them have bonded enough for Edward to invite her upstairs to his room – the penthouse.

After a night of champagne, revealing phobias, I Love Lucy, and sex, Edward propositions Vivian. Spend the week with him as his employee/date, and she’ll walk away with $3,000 (the film’s original title, when it was more of a gritty, dark drama). Vivian agrees with enthusiasm, and the journey to love begins. Through Edward, Vivian realizes her potential, and through Vivian, Edward finds his conscience. The movie will surely remind us how similar Edward and Vivian really are (“We both screw people for money.”).

Pretty Woman is formulaic and overrun with rom-com tropes… though it’s possible a few of those tropes originated in this film. But it’s also propelled by Julia Roberts’s performance. Despite some social-status and class naivety, she’s the Cool Girl, adorably quirky and smart. Vivian comes across as calm and confident, but her constant fidgeting makes her uncertainties evident. Roberts is energetic and charming in the role, whereas Gere is appealing but subdued as Edward. He seems tired of his life path despite having everything he could possibly want. Gere and Roberts play well off of each other. Their chemistry is palpable and fuels the movie, making it easier to believe in the Cinderella fantasy.

While the chemistry between the two leads is essential to any rom-com, the supporting cast is just as important to keep it from feeling bland or one-dimensional. Thankfully, the cast of Pretty Woman is just as fun to watch as Gere and Roberts. There is a subtle but wonderful performance by Héctor Elizondo as Barney Thompson, the hotel manager, and Vivian’s “fairy godmother,” and Laura San Giacomo is hilarious as Kit, Vivian’s loving, wisecracking roommate and friend. Every fairytale also needs a villain, and that’s where Jason Alexander comes in, skeeving up the screen as Edward’s shady lawyer, Philip Stuckey. Keep an eye out for a brief appearance by Hank Azaria as well!

There is nothing realistic about Pretty Woman. It’s a fairytale through and through, and if you can overlook some of its glaring issues, it’s an endearing romance. If nothing else, it’s had an incredible impact on pop culture, from Roberts’s shopping spree and subsequent takedown of some snotty saleswomen (“You work on commission, right? Big mistake. Big. Huge!”), to her iconic red evening dress. The movie has been referenced, parodied, and paid homage to more times than I can count. Even this year’s fantastic rom-com, Long Shot, borrows quite a bit from the Pretty Woman experience.

Honestly, sometimes it’s nice to turn off your brain and get lost in a mindless fantasy, and that’s what Pretty Woman is.

Watched: 09/27/2019
Notable Song: Must Have Been Love by Roxette