BEHIND THE MOVIE: Looking at a "Pretty Woman"

Garry Marshall’s "Pretty Woman" (1990) emphasizes the difficulties among class relations by taking a look at the lives of a prostitute and white collar businessman as they transform from hiding their own inadequacies, to people wanting more out of their life. The plot follows Vivian Ward (Julia Roberts) and Edward Lewis (Richard Gere) in their journey to survive in a world that defines blatant class boundaries.


Edward, a businessman struggling with different aspects in his life, confronts Vivian on Hollywood Boulevard who escorts him back to his expensive Los Angeles suite. Previously uncomfortable about Vivian’s occupation as an L.A. hooker, Edward comes to terms with her inferiority and establishes her as a member of his own upper-class society. As Vivian learns to adapt in the world of the rich, she proves to be an outlet for Edward to express his concerns, hopes, and dreams.


The narrative comically shows Vivian’s own ineptitude at being a socialite and Edward’s escort to various business functions. Yet as the plot demonstrates her rising status, it correspondingly degrades her once again. Edward calms his lawyer Philip Stuckey’s (Jason Alexander) fears that Vivian is a spy working for a competing firm, by revealing that she is indeed a hooker.


Through the course of the movie, Edward and Vivian develop a strong bond that comes as a shock to both. As emotionally unattached characters, Edward and Vivian allow themselves to express emotion as the film progresses; something that in the past, neither has permitted. Their happenstance meeting on an L.A. street that established no expectations from the beginning, develops into a love affair that rejects all societal notions of how those of opposing classes normally interact. Various cinematic strategies define each class from the beginning to the end through a series of three major plot developments. Two very confident people outwardly satisfied in their own societal role at the beginning, adapt to their changing attitudes about class relations by learning from each other, and finally come to terms with the different class. Thus they gain a newfound alternate perspective about personal goals and their outlook on life.


The relationship and corresponding emotional development between these two previously emotionally detached characters shows that how despite drastically opposite lifestyles, people from different classes are intrinsically similar. "Pretty Woman" defines class politics through cinematic techniques, character dialogue and actions, and an established code of conduct that distinguishes the inferior from the superior. The film attempts to prove an ideology that money does not serve as the foundation of happiness nor does it solve all problems. Instead, it is not foolish to think people of different classes may not only have a relationship with one another, but indeed be a positive influence in each other’s lives.


The beginning of the film is characterized by references that indicate the differences between class relations. Vivian’s friend Kit De Luca (Laura San Giacomo), who is a hooker herself, exhibits a distasteful attitude and is called a “grouch” in one scene. Kit claims she is hungry, and this proposed hunger comes as a direct result of not having enough money for food. Likewise, Edward is characterized as a “grouch” by many due to his ruthless attitude, which he claims is simply inherent of a good businessman. The difference between the two attitudes, however, lies with the explanation for such unpleasantness. Kit’s mood is induced as a product of their means of living, whereas Edward’s distasteful persona may be categorized as a means of achieving a product — which in his case, would be closing an important business deal. The significance of such an observation proposes that the inferior class does not intentionally display unfavorable characteristics, but it is merely a consequence of their status. Contrarily, this indicates the opposite for people of Edward’s social class: that unfavorable characteristics are almost necessary and an accepted component required to succeed in their upper-class lifestyle.


Throughout, the story establishes those of lower class to have a greater moral compass, which is contradictory in the sense that Vivian is a hooker. Yet time after time, repeated images and dialogue suggest to the viewer that Vivian is ultimately a good person. Family photos adorn her apartment in the beginning of the film, whereas any personal effects are distinctly absent from Edward’s material things. His relationship with his father, viewers find out, was strained and complicated and he was not present when he died. Vivian shows concern with how people feel, and asks Edward if he wants to talk about his father dying. She likewise points out that the owner of a company that Edward wants to buy seems like “a nice old man.” These references to emotion and an understanding of people on a personal level seem contradictory to Vivian’s own standoffish feelings, such as her rule of never kissing on the lips.


As a very linear film that clearly develops the characters based on past actions, the first scenes of the movie establish both Vivian and Edward as people apparently confident in their business role, but a bit rocky internally. A series of cuts that show Vivian getting ready for a typical night on the street proves to be a cinematic technique that allows viewers a chance to understand her character. She uses a black marker to color her boots, which she then straps on with safety pins. She puts on bracelets, her makeup, her wig. Symbolically, each in their own form actually serve as a mask that covers her true self. As viewers learn in a later scene, the black wig covers her own naturally long, curly red hair. A ladder by Vivian’s window provides her with an escape route to avoid her landlord who stands a few doors down. As a visual testament to not only her own troubles with figures of superiority, but her belief that she is “not good enough” as a human being, she descends by ladder. Literally and figuratively Vivian prompts the audience to consider how she is climbing down the ladder in society.


Despite cinematic reference to class status, this does not indicate Vivian is a weak member of society. In fact, she displays characteristics that define her as a confident woman who does things her own way. “You can’t charge me for directions,” Edward says to her when he first meets her on the street. “I can do anything I want to baby,” Vivian replies. Finally Edward retorts with “You win, I lose,” and admits she can do as she pleases. Not only does this scene establish that Edward is actually helpless because he is lost on the streets of L.A., but also foreshadows how he is lost within himself. In fact, in a later scene Vivian meets Edward’s friends on a horse outing and questions the sincerity of his friendships: “No wonder you came looking for me.” Vivian additionally verbally displays a sense of power over Edward by repeatedly telling him that “we say who, we say when, we say how much,” in reference to the hooker’s control in a situation. An overtly physical reference to Vivian’s display of power comes in the former car scene when Edward is unable to successfully drive his lawyer’s manual car. Often in movies, a car references a man’s masculinity and when a car is destroyed or taken, similarly is his status as a powerful and effective male. In this case, Vivian literally gets in the seat of Edward’s car and prepares him for the “ride of his life.” Thus through these series of verbal comments and physical actions, money is, for the time being, blatantly disregarded and the two people come down to a level playing field. Vivian exerts her power while at the same diminishing and exploiting Edward’s own faults.


Edward’s faults, however, are not limited to this one scene. Not only does Vivian exhibit her knowledge about cars, but she serves as a direct contrast to Edward’s apparent lack of knowledge on the subject. In fact, he tells her his first car was a limousine: which only references how once again, he is not the driver but merely a passenger. Furthermore, Edward’s inadequacies come forth when viewers learn how he has an ex-wife, an ex-girlfriend Jessica, and never eats or sleeps. He does not know how to properly tie his own tie — which of course Vivian knows how to do — and has a fear of heights. It is his anxiety toward heights that Vivian most emphasizes throughout the movie, questioning why he chooses to live in a penthouse, why he decides to sit in the highest seat at the opera, or why he owns a plane if he has such a fear.


Yet Vivian’s faults are exhibited in a similar fashion. This parallel helps viewers erase the line that drew a distinction between classes in terms of inferiority. Both Vivian and Edward become exposed for their own shortcomings, and ultimately learn from each other to improve themselves. Edward, in turn, points out Vivian’s restlessness and habit of fidgeting. She has trouble buying clothes at stores whose employees ask her to leave, does not know to tip the bellboy, lacks proper dinner etiquette, and is insecure about people looking at her awkwardly when she shops on Rodeo Drive. Her seeming lack of money proves to be a factor of discrimination when she tries to shop in an upscale store. Likewise, Edward’s apparent wealth is also a factor of discrimination. He parks in the alley behind the club Vivian frequents, and people demand money from him.


When Kit first sees Vivian after a time apart, she tells Vivian that, “It’s easy to clean up when you got money.” Yet the focus turns away from the money aspect and focuses more about their emotional relationship. The turning point in the story is not when Kit identifies Vivian’s transformation through acquiring monetary funds, but during the bedroom scene when Vivian finds Edward asleep. Marshall makes use of a medium shot that shows Vivian going up to a sleeping Edward, and then cuts to a close-up of her kissing him on the lips. This scene functions as a confrontation of past anxieties; Edward apparently never sleeps, but is shown doing so in this scene. Vivian likewise never kisses on the lips, but is shown doing so here.


Ultimately money doesn’t solve all problems, and often people put on a persona to hide insecurities and faults. It is not the money that saves Vivian from a perpetual life as a hooker, nor is it the money that transforms Edward into the man he becomes. In the end, in a dramatic flourish, Edward rides his white “steed” of a limo to “rescue” Vivian from her apartment tower. Similar to other movies in the typical Hollywood blockbuster, the woman ends up exactly where she started. This notion, although true of Pretty Woman, is only partially correct. Vivian literally ends up back where she started: in her old apartment. Yet she is intrinsically different as the audience makes the assumption, with indication from Vivian, that she will not revert back to her old ways as a hooker.


By meeting an upper-class man, Vivian has shed her class conceptions and learned a great deal about opening up to people and being herself. Likewise, Edward conquers his fear of heights as he climbs up the ladder to her apartment — which serves as a nice circular structure that parallels the beginning of the film when Vivian climbs down the same ladder. Perhaps Edward stated it best when he said, “You and I are such similar creatures. We both screw people for money.” Yet although it was the money that defined them before, money, like class, is no longer an issue by the end. Despite this, viewers are still aware of such prejudices when it comes to money, as Edward reminds Vivian: “People are never nice to people. They’re nice to credit cards.” "Pretty Woman" redefines class stereotypes to be less about the money and more about how people can reshape each other’s attitudes and outlooks on life. The “I Love Lucy” show that Vivian watched on television at the beginning of the movie foreshadowed events to come.


The characters on the screen were crushing grapes, which translated into the relationship between Edward and Vivian. The grapes, which taste all right if eaten alone, were made into something better with some direction and implementation by others. They were made into wine.