Pretty Woman

Pretty Woman (1990)

TBS Broadcast, Seattle, WA

November 18, 2007

This was not the first time I have seen this film.

**** / ****

I have a confession to make: I just watched Pretty Woman two times in a row. Now I know what you’re thinking, but it’s not true. I am not a big softie, nor am I a closet romantic comedy obsessive. And forget about my enjoying long walks on the beach, an afternoon at Bed, Bath, and Beyond, and a good old-fashioned Julia Roberts/Richard Gere double feature. I mean, come on, honestly, I sooooooo prefer Hugh Grant to Richard Gere any day of the week.

Now let’s talk straight: Garry Marshall’s Pretty Woman is an excellent romantic comedy. I’m no aficionado but there’s good reason this film has a loyal following nearly twenty years after its release. But, rather than give the typical blow-by-blow of the plot, which would be little more than a detailed version of boy-meets-girl, boy and girl break-up, boy and girl get back together again, which could describe almost any romantic comedy, let’s examine precisely why Pretty Woman is so freakin’ good.

First of all, Richard Gere as the aloof and lonely corporate takeover older gentleman and Julia Roberts as his tough yet light-hearted streetwalker companion are indeed a match made in heaven. Roberts is sassy and sexy, and exudes a mix of vulnerability and confidence in the role that guaranteed prime billing in Hollywood the minute she sat down to figure out which fork to use for the salad. Her unlikely kindred spirit, Gere is likewise perfect in his role as a corporate take-over tiger who does what he does because he was abandoned by his father as a child. Ladies love this kinder, gentler, pony-tail free Steven Sagal (am I the first to ever make this comparison?) and if An Officer and a Gentleman wasn’t enough to make every housewife in America fantasize about him than this movie tipped the scale.

Second, writer J.F. Lawton’s Cinderella meets Pygmallion coupling updated for the late ‘80s is pure gold. The use of irony as an insurance policy hadn’t yet overflowed Hollywood so viewers weren’t accustomed to furrowing their brow at the notion of a millionaire businessman falling in love with a prostitute. Hence, our 1990 selves lapped it up like Cheshire cats with saucers full of Fancy Feast.

Third, the tunes that accompany the love making, heart breaking, and soul searching are dated dynamite that bring a falling in love feel to the story that is perfect. It Must Have Been Love, The King of Wishful Thinking, and Pretty Woman are genius musical selections that complement the ‘80s silliness with the classicist underpinnings to a “T.”

Finally, Pretty Woman’s supporting cast is outstanding and guarantees the film classic romantic comedy status. From the goofy bell boy (Patrick Richwood) to the asshole lawyer (Jason Alexander, yes, George Costanza!), Robert’s potty mouthed prostitute mentor (Laura San Giacomo) to the snobby boutique saleswomen, the stern business man in dire straits (Ralph Belamy) to the coolest hotel manager of all-time (Hector Elizondo), casting director Diane Crittendon deserves a place in the casting Hall of Fame on the merits of this film alone. The cast is as perfect for their roles as is humanly possible.

Pretty Woman isn’t a perfect film, but it is perfectly entertaining and stands the test of time with flying colors. Add to that a cringe worthy official tagline, “who knew it was so much fun to be a hooker?” and you’ve got a romantic comedy that succeeds in spite of itself and completely on its own terms. Now if that isn’t worthy of four out of four stars than I don’t know what might be.