How Pretty Woman Revived Romantic Comedies
March 23, 2015 - Picnic Time
Pretty Woman was essentially conceived as a dirty story of a drug-addicted prostitute. In an early chronicle of a script, Vivian Ward uttered lines like, “Are we certain we wish me to stay for a whole night? we could usually cocktail we good and be on my way.” A condition of her surprising arrangement with a billionaire Edward Lewis was that she stay off heroin for a week they spent together. The whole thing, during first, was meant to be a dim scrutiny of category groups in Los Angeles and beyond. It was meant to be a cautionary tale. It was unequivocally not meant to be a regretful comedy.
The filmmakers, however, eventually took a opposite kind of play with their take on Pygmalion, re-(re-)imagining their story of harlotry as an unlikely, upbeat rom-com. And it’s a good thing they did. Pretty Woman, expelled 25 years ago today, stays one of a many renouned movies, and also a highest-grossing regretful comedy, of all time. It regenerated a grieving career of Richard Gere; it catapulted Julia Roberts to mega-stardom. It seems to be personification on TV, interjection to wire channels both reward and decidedly basic, during flattering many any given moment.
It is also, along with When Harry Met Sally, generally credited with reviving a regretful comedy as a genre. Before Pretty Woman came along in 1990, a rom-com had been suffering. The 1960s, ’70s, and ’80s weren’t wholly abandoned of cinema about romance, to be sure, yet even classics like The Graduate and Annie Hall—films that endangered themselves, primarily, with love’s several anxieties—offered heavily ironized, and generally pessimistic, takes on relationships. Rom-coms of that duration tended toward what my co-worker Chris Orr has called a viewpoint of “bittersweet reinvention,” focusing on integrating a lessons of a counterculture and, in a process, losing many of their faith in that many simple of rom-com tropes: a happy ending.
Into this dim night of a rom-com essence came When Harry Met Sally, with a meaningful refurbish of screwball, and then, a year later, Pretty Woman. Which was important not usually for a clear-eyed, illusory adoption of angel story archetypes, yet also for a welcome of a romantic, both as a lower-case and upper-case proposition. Sure, Pretty Woman—true to a strange source as a class-based probity play—anticipated a enlightenment wars of a 1990s and a category wars of a 2000s and a arise of contemporary builder enlightenment (Edward proof himself to Vivian, in a end, by opting to build things rather than rip them down). And, sure, it contingency be said, a film done light of feminism and Marxism and consumerism and, to supplement insult to injury, escargots.
Mostly, though, as a winking refurbish to Cinderella—and as, by extension, a La Traviata for a epoch of a corporate raider—Pretty Woman distinguished a core faith in a delight of regretful adore opposite varying obstacles. Love, Pretty Woman suggested, transcends a untimely impediments of resources and class; it is during a best a assembly of loyal minds, regardless of a condition in that those minds occur to find themselves during initial meeting. The initial night Vivian and Edward spend together—after he has picked her up, literally and otherwise, in a borrowed Lotus Esprit—they watch reruns of I Love Lucy while Vivian has “a runner picnic.” After Edward tries to attract her with champagne and strawberries, Vivian interrupts his efforts: “Let me give we a tip,” she says. “I’m a certain thing.” He afterwards catches her in a lavatory of his penthouse suite—not doing drugs, as a film’s initial book would have had it, yet flossing her teeth. (“We had all those strawberries!” she explains. “And we shouldn’t slight your gums.”)
Which is, in a film’s rom-comic context, a fun that is doing double work: Vivian, we are meant to understand, is a quite rational kind of prostitute. Not usually does she stay divided from drugs; she is healthy to a indicate of a laughable mania with a impediment of gingivitis. She is, partly since of that, a wise foil for Edward, who is—though we will substantially gangling a tiny violins for this large billionaire—frustrated and lonely, with a “special gift” for “impossible relationships.”
The dual are, in other words—according to a ethic of a rom-com, that has small regard for superficialities like wardrobe or standing or a untimely fact that one member of a integrate happens to be a prostitute—equals. “You and we are such identical creatures Vivian,” Edward tells his new hire, early on in their relationship. “We both screw people for money.”
And Vivian, crucially, never questions her bearing as a partner for Edward; she isn’t tormented with a anxieties that, a film suggests, women of Edward’s extraneous “league”—the women amicable gathering would select for him—tend to be impeded with. Life might have been astray to her; guys might have been astray to her; it’s never a question, however, that she deserves many improved than she has gotten. Vivian is eccentric (“I contend who, we contend when, we contend how much!” she and her roommate and associate prostitute, Kit, keep as a mantra) and confident. In a end, mostly since of her pride, she rejects Edward’s money. She rejects a unit he has offering her in New York. She also, briefly, rejects him.
This, among other things, places Vivian precisely in a tradition of a heroine—Cinderella, Elizabeth Bennet—who proves, within a dignified cosmology of a angel tale, that she is estimable of attaining resources precisely by not caring about it. Vivian talks about “copping a squat” in a open park; she teaches Edward what it means to “veg” (“be still like vegetables—lay like broccoli”); she gets him to take off his boots and hosiery and travel barefoot by a grass. She is a manic pixie call girl. She is also, in her way—by structure if not by initial condition—a princess. She and Edward have a week-long courtship that starts as a story of a oldest contention in a universe and ends as a story of a oldest angel tale.
The tale, importantly, goes both ways. “And what does she do after he rescues her?” Edward asks, after he rides to Vivian
on a white horse in a white limo to announce his love. Vivian doesn’t skip a beat: “She rescues him right back.”
Pretty Woman, it’s easy to forget now, was argumentative in a time. Actresses deliberate for a purpose of Vivian included Meg Ryan, Molly Ringwald, Winona Ryder, Michelle Pfeiffer, Jennifer Connelly, Mary Steenburgen, Daryl Hannah, and Jennifer Jason Leigh; those who were offering a part, until Roberts came along, deserted it—not wanting, in a end, to play a prostitute. (The purpose of Edward, for a part, was deserted by Al Pacino.) These qualms now seem quaint. Pretty Woman, by Garry Marshall’s light hold and a attract of a actors—to awaken a blustering guffaws Vivian emits with while examination I Love Lucy, Marshall tickled Roberts’ feet—became an present classic. It was about a prostitute, yes, yet it was not during all about prostitution. It was unapologetically sappy; it was delightfully witty; it was aspiring in a jubilee of a sorcery that can occur when dual strangers come together and, opposite all odds, rescue any other. It was, in other words, a classic, #sorrynotsorry rom-com.
In that, and in a large success, it left a poignant legacy. Pretty Woman was followed, in brief order, by a slew of now-classic regretful comedies, from 1993’s Sleepless in Seattle to 1995’s Clueless and Before Sunrise and The American President. Which were in spin followed by 2001’s Bridget Jones’s Diary and 2004’s Sideways and 2008’s Forgetting Sarah Marshall. Rom-coms became so pervasive that it became easy to forget they’d ever been in decline. You could, usually as we could with Pretty Woman, discuss their quality, both as pieces of cinema and as specimens of a genre. What we couldn’t unequivocally debate, though, is their standing as rom-coms in a initial place. These are cinema that believe, fundamentally, in a party value, and simply a value, of romance. Pretty Woman—that now-classic story of boy-meets-call-girl—paved a approach for them.