Romance as Fantasy

Rating: 8/10 (9 March 2007)

Garry Marshall is something of an anomaly in the film business: his movies tend to eschew the extreme, "quien-es-mas-macho" bravado found in the works of many of his peers (Martin Scorsese and David Mamet, to name a few), and in turn they embrace the type of sentimental maudlin that sums up the term "chick-flick" with pride. And he's clearly getting away with it -- the only other high-profile directors to sculpt their entire careers on the plight of the female sex have been Pedro Almodovar, Douglas Sirk, and George Cukor, all in their distinctive directing styles. All the rest have occasionally dabbed in high-powered drama, but never as soapy and drenched in Lifetime television glitter as Garry Marshall has.
PRETTY WOMAN continued his venture into the world of opposites: here he goes for a modern take on MY FAIR LADY, itself a version of PYGMALION, and amps up the fairytale aspect to eleven until there is really nowhere else to take the concept, already convoluted to begin with. Richard Gere plays a high-powered executive who crosses paths with (the unrealistically named) Vivian Ward (Julia Roberts in her first starring role) and takes her in as his companion (i. e. escort, kept lady, etc.). This of course comes with his re-imaging of her: he gives her a massive wardrobe, polishes her act, and transforms her into a quasi-society woman. It doesn't come with a few set of complications, one involving Jason Alexander's lecherous character, but these are less of interest to the focus of the story, already deep into establishing what Roberts and Gere are to each other.
PRETTY WOMAN has become a classic in its own right even when there are people who hate it and call it dated, or downright misogynistic due to the fact that purportedly it is "telling" people that "a woman needs a man to survive." I for one, don't think so. It would mean that every movie made in the vein of the aforementioned MY FAIR LADY or PYGMALION is a blast against women who are objectified to the point where they aren't even human anymore, and that is plain ridiculous. PRETTY WOMAN is romantic fantasy, no more no less, and is meant to be enjoyed as such. Nothing that happens here would happen in real life -- as a matter of fact, big-named male execs and celebrities have been on the wrong side of publicity once their liaisons with hookers have been publicized. Vivian isn't even a true person, but Julia Roberts plays her as if she were made of sheer velvet and longing and innocence. To see her getting her revenge on the snobbish women of that Rodeo Drive store is a hoot -- because we've rooted for this character. Again, good storytelling and characterization made into a commercial smash.