The 1980s. A decade full of shoulder pads and clear landlines. 1989, more specifically was a tumultuous year with upheaval in the middle east and the breakdown of the Berlin wall. However, on the other side of culture, in a little town called LA, the screenplay for the cult-classic film Pretty Woman was underway. With a blossoming career, Richard Gere would take to the stage with a fresh, new actress- Julia Roberts.
Now beloved on television screens all across the globe, 20-year-old Roberts was cherrypicked by the film’s late director, Gary Marshall. Though unknown at the time, Marshall helped kickstart her career into becoming the A-lister we all know and love. From this film, a life-long friendship blossomed between the two, and they enjoyed that relationship until his death in 2016.
The film’s producer, Gary W. Goldstein, explained in an interview with Film Courage that Richard Gere’s stardome made way for an undiscovered talent to hit the screen. Although Gere was the spotlight of the release, Roberts’ instant fame quickly took lead. Today, we’re going to be taking a deep dive into the production, design, and beauty of the American classic Pretty Woman.
For such a smash-hit film, it may come as a surprise to know that the script’s original writer, Jonathan Fredrick Lawton, better known as J. F. Lawton, was only paid $2,500 for his work. Julia Roberts revealed in an interview with NBC the original script, named “Three Thousand,” had a much darker ending than the one we see on screen. She said,
“At the end of the original script, Richard (Gere)’s character threw my character out of the car, threw money on top of her and drove away, and the credits rolled.”
However, when Disney Touchstone became part of the project, it was agreed that a more wholesome ending was needed. This is why we were blessed with the fairytale ending of Viv’s imagination. Jumping back to the film’s friendly faces, during research of this film, I discovered Julia Roberts was 20 during filming, whereas her co-star, Richard Gere, was a stark 38. Age gaps in Hollywood are by no means a new concept, but this film hid the mildly concerning difference far from the minds of viewers. The discrepancy did become apparent, however, when Marshall shared a behind-the-scenes tidbit about her 21st birthday celebration. An article from the Hollywood Reporter stated,
“Had the movie not been shot on location, the star Julia Roberts would have missed out on celebrating her 21st birthday, Marshall joked: ‘We had Julia Robert’s 21st birthday on Hollywood Blvd. I only gave her a sip of champagne because I didn’t want to mess up the movie.’”
Despite the intriguing age difference, Pretty Woman’s cinematography and set design were some of the shining elements of the film. This is due, in part, to the genius of Charles Minsky- the film’s cinematographer. Alex Cooke, a writer for Fstoppers- a community-based website of professional photographers and videographers- stated,
“Cinematographer Charles Minksey used soft, shadowless lighting to create a warm, glamorous glow. This kind of lighting is ideal when you want to minimize imperfections and give everything a polished, almost eternal quality. By using soft light straight from the top, Minksky was able to highlight faces without harsh shadows, a technique often referred to as classic Hollywood lighting.”
Lighting, however, is only as good as the set behind it. When thinking about the behind-the-scenes workers of Hollywood, the positions you might not immediately think of are those of a set designer, set decoration, and production designer. Despite this, every role has an important task, and these three are no exception. I was unable to find much information on the set designer, Antoinette J. Gordon, despite her wonderful work on the film. However, I was able to find information on the other two contributors.
Garrett Lewis, the set decorator on Pretty Women, got his start in the business as a home decorator of the stars. Due to his work in the industry, Lewis was nominated for 4 Oscars before his death in 2013. Albert Brenner, the beloved production designer, sat down with Jared Cowan from the Los Angeles Magazine to talk about his work on the film.
During the interview, he revealed to Cowan that many of the location decisions were chosen out of ease. He stated, “Just whatever was convenient,” when talking about the Beverly Hills sign found in the beginning scene of the movie. Some locations, such as Hollywood Blvd. and Rodeo Drive in Beverly Hills, were chosen strategically and filmed on location. Others, not so much. One of the locations many fans of the movie expect to have been utilized was the Beverly Wilshire in Hollywood Hills. While the name of this hotel was used many times, Gere revealed in an interview with Kjersti Flea that they, in fact, never stepped foot inside of the Beverly during filming. He stated,
“I’ve had people over the years tell me, ‘Oh yeah, we stayed in the Pretty Woman suite at the Beverly Wilshire, and I said, ‘We didn’t shoot there,’ which we didn’t. But they have apparently 4 or 5 suites that they would call- they rented out- as the Pretty Woman suite…”
Later, talking about the infamous bathtub scene,
“…that was a set- a built set [the real] hotel stuff was at an abandoned hotel. I think the Ambassador it was called…”
While the Beverly was not used itself, the Las Palmas hotel that Vivian and Kit call home was, once again, a victim of convenience. An entirely iconic location utilized for its ability to fit the filming schedule. Hollywood, baby.
As with any good, iconic film, some scenes steal the heart of the audience more than others. Pretty Woman’s iconic and captivating moments have been haunting the industry for over 30 years, and there is no sign of it slowing down.
Shopping on Rodeo Drive. The shopping on Rodeo Drive scene not only propels the plot forward but also presents the best makeover scene in all of Hollywood history. In the first part, Vivian is instructed by Edward to obtain more socially presentable clothing. Walking down to Rodeo Drive in her less-than-business-professional attire, she is quickly rejected by the saleswomen. After crying to Barney (Héctor Elizondo) about the experience, he sends her to an associate who helps her find a dress.
The following day, Edward instructs her to go back out and find more outfits. After being told of the awful saleswoman, he decides to join her for the excursion. The following sequence showcases Vivian’s first experience in the world of glitz and glam- the day many women have dreamed of having. This moment of the film not only showcases the class division between Vivian and Edward but the shallowness of Edward’s counterparts.
The Bathtub. During a phone call with an important business partner, Edward is informed that he should have a date to a networking dinner later that night. As he is receiving this news, the camera flashes back and forth between the phone call and Vivian, who is enjoying a bubble bath sing-along. As she screams out the tune to the beloved Prince song, Kiss, Edward is enamored by her goofy display presenting her an offer at a generous price, Vivian would stay with Edward for the remainder of the week and, additionally, would be his date to the dinner that evening.
After a hot negotiation, it is decided that Vivian will stay for her prized $3,000. During the scene’s conclusion, we get this back-and-forth banter where Vivian says, “I would have stayed for two thousand,” and Edward responds with, “I would have paid four.”
Not only does the scene provide important forward motion in the plot, but it also allows the audience to witness the child-like side of Viv- a side she gets to explore as well. For Gere’s character, we watch his face as he actively falls in love with the girl behind the wig.
The Opera. In the scene preceding a mystery outing- that we later learn is a trip to the opera- Julia walks towards the camera in the single most iconic look of the entire film- the dazzling red dress. To top off her glamorous eveningwear, Edward presents her with a necklace, stating, “I don’t want you to get too excited. This is only on loan.”
He proceeds to adorn her with a necklace that is later stated to cost a quarter of a million dollars. For folks keeping track at home, that is over $627,000 today. While watching the film, the only thought in my cynical mind was, “What would he do if she ran away with it?” but thankfully, Touchstone most likely would not have green-light that plot twist either.
While walking out of the hotel, Vivian turns the heads of every patron in a new way. Instead of throwing her audience with shock-factor, she displays exquisite, elegant beauty. As people begin to stare, she begins to clutch her necklace- seemingly in the assumption that they are all looking at the bling on her neck. In a half-laughing fashion, Edward looks at her as if to say, It’s not the necklace they’re all staring at.
The Kiss. While I could not find a clip, the scene starts at approximately 1:29:17. One of the introductory pieces of information we learn about Vivian is her aversion to kissing on the mouth. On the night of their first meeting, Vivian asks Edward, rather bluntly,
“What do you want?”
“What do you do?”
“Everything. But I don’t kiss on the mouth.”
“Neither do I.”
Later in the movie, as Edward is falling for Viv, he attempts to kiss her directly on the mouth- a sign that their encounters are no longer business and, instead, actual love and adoration. Ms. Ward, seemingly scared of the intimate moment, averts her mouth and reverts to her working-girl impressionistic ways.
Several scenes later, she walks towards an asleep Edward while deciding to return the intimate moment with a full-blown kiss on the mouth. Waking up in a mixture of confusion and delight, Edward and Vivian decided to no longer push away their feelings for one another. When Viv thinks Edward is asleep, she states, very plainly, “I love you,” and drifts away to sleep. Edward hears her sentiment but allows her to think he was asleep instead whilst processing the moment internally.
A combination of laughing and crying is the hallmark description of every scene in this film. I find the classification of “romantic comedy” to be a misrepresentation of the emotional journey the characters and the audience embark on together. While the individual scenes I broke down exemplify these concepts, this is the true emotional heartbeat of the entire film.
COSTUMING.
With every aspect of the movie contributing to its success, the costuming is no different. Pretty Woman has been a talking point in fashion media since its 1990 release. In most movies, fashion is used as a subtle way to drive the plot, however, some films such as The Devil Wears Prada were specifically intended to show off the fashion industry whilst telling a story. Pretty Woman lies nicely in the middle.
Marilyn Vance, the costume designer in the film, individually designed and custom-created every piece of clothing Roberts wears throughout the film. Not only did she create Robert’s pieces, but she also created the looks Edward wore. The suits and ties adorning the Wall Street overlord were intricately designed to reflect the character’s personality and growth throughout the movie. When discussing the film with the CDG- Costume Designer Gild- Vance explained the motivation behind a costume designer by saying,
“If you really want to do something interesting, it’s about the character. What would a character really do?”
She explained that fashion designers have a statement to tell the world, and they use fabrics to do it. But costume designers, on the other hand, are interested in telling the story of the character. To truly appreciate the work Vance put into this film, let’s begin by breaking down Ms. Vance’s wardrobe.
VIVIAN WARD
“Vivian and Kit on Hollywood Blvd,” Pretty Woman, directed by Gary Marshall, 1990.
When Vivian is initially introduced onto the scene, we see her dressed in the iconic and barely-there blue and white dress covered with a red coat and taxi-driver cap. We will get a better view of the outfit as the scene progresses, however, I want to take a second to recognize the color scheme of this shot. Throughout the entire film, Roberts’ statement pieces, namely this coat and the opera dress, are deep, bold shades of red. For a movie about a prostitute, it’s unsurprising that a color associated with sensuality would be used.
However, in this scene between Kit and Viv, an equally promiscuous, if not more so, Kit is dressed in blue instead of red. I think, directionally, this pop-of-color decision looks beautiful on camera. However, for the progression of the story, it made way to contrast between the two characters from the very beginning. Kit, a prostitute by trade, would continue on in this lifestyle, fairly contently, for the rest of the film. Vivian, a prostitute by circumstance, expresses her desire to make a new name for herself and grow in life.
The content-with-where-I-am and happy-go-luck feeling we get from Kit is shown off in her blue denim. To contrast, the “fly by the seat of my pants” vibe we get off Vivian is showcased in her daring and sexy red. The color contrast also reminded me of the blue- pill red-pill moment from The Matrix; a movie that would be released 9 years later.
“Edward and Vivian in the penthouse,” Pretty Woman, directed by Gary Marshall, 1990.
In an interview with Vogue, Roberts talked about the designer by saying,
“Marilyn Vance was so great. She made the red dress that I wore. She made the polka dot dress that I wear to the polo match. I remember her to be very caring about how I felt in the clothes because I’m not really comfortable wearing such bare things. And she was very mindful and respectful of that.”
In taking account of the actress’s body, Vance explained how she created the cut-out design to add emphasis to Roberts’ curves while playing into her more naturally gifted areas. After her oh-so-delicate streetwear, Edward instructs Vivian to go shopping for an evening dress. When he arrives for dinner, we get the iconic exchange,
“Vivian at the bar,” Pretty Woman, directed by Gary Marshall, 1990.
“Vivian at the bar close up,” Pretty Woman, directed by Gary Marshall, 1990.
“You’re late.
You’re stunning.
You’re forgiven.”
Marilyn, once again, explained how she tailored the black evening gown to perfectly fit the actress. Comically, she also shared that after the release of the movie, an upscale store stole her design and began manufacturing dresses eerily similar to the one we see on Julia. After the cocktail dress to end all cocktail dresses, we get to see Viv return to Rodeo Drive, credit card in hand, ready to take the snot-nosed women by storm.
“Vivian walking down Rodeo Drive,” Pretty Woman, directed by Gary Marshall, 1990.
Out of all of her outfits in the entire film, this cream-colored, button-up dress and sunhat combination is my personal favorite. Vance shared that she used the influences of both American and UK classic fashion as her inspiration. That might explain why her outfit here reminds me of those put on the actresses in James Cameron’s Titanic. As the scene progresses, we see Vivian dip into the store that rejected her the day prior. She walked up to the saleswoman and, whilst holding up her shopping bags, said the iconic line,
“Big mistake. Big. Huge!”
“Vivian, Edward, and Stuckey at the polo club,” Pretty Woman, directed by Gary Marshall, 1990.
Following the walk down Rodeo, the rest of the movie has Roberts in simple and not-so-simple designs of elegance. While watching the film, I noted the muted color palette her character was taking on. Richard lived in a world of browns, grays, and whites. Vivian came from a world of neon lights and pleather. In this sequence specifically, we see both characters dipping into one another’s world with color. Edward does this by strutting around in his newly-gifted tie from Vivian. Stuckey, his lawyer, notes this difference by saying,
“…I see some differences in you this week, like the tie, and, uh I’m wondering if maybe this girl isn’t the difference… “
What may sound like a kind mention of his client’s new girl, Stuckey’s sentiment was far from complimentary. On Vivian’s side, we see her taking on the muted and respectable brown. However, the polka dots allow her to retain personhood behind the eyes- something that cannot be said for the rest of Edward’s companions. It may seem ridiculous that her demeanor would become so elegant in response to her new thread, but, as any woman can tell you, heels and a nice dress can change a girl completely.
“Vivian in her iconic red opera dress,” Pretty Woman, directed by Gary Marshall, 1990.
“Vivian in her iconic red opera dress close up,” Pretty Woman, directed by Gary Marshall, 1990.
While the plot has its ups and downs, the fashion surely does not. In the next sequence, we see Roberts wearing the oh-so-adored red opera dress. With a sweetheart neckline and white gloves for miles, Vivian’s dress became a certified pop-culture moment. According to Marilyn, the Disney executives originally lobbied for the dress to be black instead of red. She explained that the elegance and sexiness of black was unfitting for where the character was in her story.
She told the CDG, “We were doing a progression with the film.” Viv’s character needed to keep her ferocity, and because Vance championed her vision, cinema history was made. The next two appearances of her character showcased “loungewear royalty” in a way I never expected to see. With a silk nightgown and a flower-laden robe, Ward’s nighttime attire was no less fashionable than the daytime.
“Vivian in her nightgown,” Pretty Woman, directed by Gary Marshall, 1990.
“Vivian on the penthouse balcony,” Pretty Woman, directed by Gary Marshall, 1990.
During the scene in which Stuckey makes a move on Vivian and she decides to leave Edward, Julia is dressed in a dusty orange blazer and dress shorts (yes, you heard me. Dress. Shorts.) combination. Paired against the copper tones of her hair, the unconventional and categorically ’80s style suit remains one of my favorite retro looks in the film.
“Vivian and Kit at the Beverly Wilshire” Pretty Woman, directed by Gary Marshall, 1990.
In the final scene of the movie, Viv is wearing an entirely ’90s Julia Roberts outfit with a black blazer, jeans, and white tea. While Vivian’s look takes a step down from the buttoned-up uniform of Edward’s world, the structure, modesty, and style she returns to her apartment in – combined with new-found confidence and candor- speaks to Louis’ lasting impact on how she views herself. Vivian’s beautiful character progression from scared alley cat to confident and driven young woman was artfully captured by Marilyn’s Designs.
“Vivian and Kit in the Las Palmas hotel,” Pretty Woman, directed by Gary Marshall, 1990.
EDWARD LOUIS
Throughout the movie, even comically so, Richard Gere is seen entirely in suits with nairy a sweatpant or athletic shirt in sight. Not only is Gere’s wardrobe entirely suits, but every man in Edward Louis’ ecosystem is as well. In juxtaposition to Vivian’s world of color and individual expression, Edward’s counterparts were specifically designed to be bland. Everything from the colors in his office building to, yes, the textiles on their bodies were entirely in grayscale. Not only did this remove individuality, but it also presented a feeling of inauthenticity.
“Vivian and Edward outside the Beverly Wilshire,” Pretty Woman, directed by Gary Marshall, 1990.
In the very beginning sequences of the film, we get the sensation that not only do we not know who Edward is, but Edward may not know who Edward is. I found myself thinking, “I wonder what’s going on inside of his brain,” during his initial interactions with Vivian. In the beginning of the film, we see him wearing a dark brown, or possibly grey, suit and a brown tie. The following day, he is dressed in a light blue-grey suit with a dark grey tie.
“Vivian, Edward, and the sales representative in a shop on Rodeo Drive,” Pretty Woman, directed by Gary Marshall, 1990.
At the polo club, he is once again dressed in grey, but changes into a tuxedo for the opera scene.
“Vivian, Edward, and Stuckey at the polo club,” Pretty Woman, directed by Gary Marshall, 1990.
“Edward in the Elevator of the Beverly Wilshire,” Pretty Woman, directed by Gary Marshall, 1990.
After being rejected by Vivian, Louis takes a page from her book by going outside and walking around barefoot- an incredibly comical sight for a man still wearing his work attire. We have one subtle glimpse of a relaxed Edward when he stares over the balcony and contemplates what to do about his lost love.
“Edward walking on the grass,” Pretty Woman, directed by Gary Marshall, 1990.
“Edward looking over the penthouse balcony,” Pretty Woman, directed by Gary Marshall, 1990.
“Vivian and Edward walking outside next to a fountain,” Pretty Woman, directed by Gary Marshall, 1990.
In the final sequence of the movie, Louis provides the grand romantic gesture reuniting him with Vivian, and they live happily ever after. This knight, however, did not come in armor, but instead, cotton. All the same, Viv got the fairytale fantasy she had always dreamed of.
Disregarding the glaring lack of intrigue in Edward’s costuming, the simpleness matched his character beautifully. Although he has an arch, from the beginning of the film to the very end, Edward remains a calm and uncomplicated individual. His exterior reflected the same type of person he was on the inside.
Despite the simplicity, Vance dedicated her time to hand-making and designing all of the pieces Gere wore (minus the tuxedo)- just as she did for Roberts. At the time of production, she discussed how every suit was being made with tweed fabrics. Feeling very strongly that tweed did not fit the bill for such a man, the designer searched high and low for the correct fabric to use. She also, interestingly, stated that, in the scene by the water fountain, she specifically wanted the color of his suit to match the color of his hair. She told the CDG,
…and that gray. I just wanted that color to match his hair during the day. Sometimes it looked very blue in the film, but it wasn’t. It was really a sleek grey, and it-it was important, know to have those- the gabardine- they’re smooth because that was his character.
The line between insanity and genius is never as thin as it is with artistry, and Marilyn Vance is no exception.
MUSIC.
Costuming is one tool in the arsenal of Hollywood to tell a story. Without it, the characters fall flat, and the paintstroke of believability fades away. Another equally important aspect of production is sound design. From the songs playing in the background of iconic scenes to the violin music conducting our emotional journey, poor sound design can tank a project just as quickly as anything else. Sound production is so vital to the success of a film that, for this project alone, there were 17 credited workers in the sound department. While this includes everyone from cable men to sound mixers, it is undeniable that the most notable sonic aspect of the film was the music.
At the beginning of the film, the camera starts on Richard Gere’s character breaking up with his girlfriend over the phone. In exasperation, he gets in his lawyer’s car and frantically tries to navigate down to Beverly Hills. During a comical montage of his driving ineptitude, the Go West classic King of Wishful Thinking arises on the speakers. Along with an infectious ‘80s synth, the song foreshadows the love-sick mentality of our main leads with lyrics such as,
I’ll get over you, I know I will // I’ll pretend my ship’s not sinking // And I’ll tell myself I’m over you // ‘Cause I’m the king of wishful thinking.
While a now beloved tune, the road to success was hard to find for the group. Bouncing between labels, Go West found themselves at a musical low when creativity struck. Like with many songs, the title lyrics came about by complete accident. Go West singer, Peter John Cox, explained how they thought it up by saying,
We were having a drink in the bar discussing where we were, and Richard said, ‘Yeah we’ll be fine. We’s the kings of wishful thinking,’ and I thought, ‘that’d be a good song title.’
While the song was credited and sung by the Euro pop duo, Martin Geroge Page and was also a credited writer on the tune. During an interview with Professor of Rock, Cox explained the difficult dynamic between the three writers. He stated,
…if Richard’s presenting me with a series of chords, I’ll say, ‘well, couldn’t we just do that?’ and so on and so on and Richard’s input with the lyrics is the same…
Later, when talking about his writing relationship with Martin George Page, he stated,
I think Martin was quite in the collaboration. I think he’s savvy in that he understands that the lyric has to sound right coming out of the singer’s mouth. It’s got to sound genuine. It’s got to sound honest.
Although the writing process presented many challenges, The King of Wishful Thinking went on to become the duo’s biggest hit.
Later on during her walk down Rodeo, Roberts struts the street to the uniquely 80s sound of Natalie Cole singing Wild Women Do. Unlike King of Wishful Thinking, Wild Women Do was, in fact, specifically written for the 1990 movie by Greg Prestopino, Matthew Wilder, and Sam Lorber. During this scene, the lyrical overlap perfectly reflects the “we say who, we say when, we say how much,” attitude of the working ladies in the film with lyrics such as:
You tell me you want a woman who’s as simple as a flower // Well if you want me to act like that, you’d better pay me by the hour… // Wild women do and they don’t regret it // Wild women do what they’re goin’ through.
In an interview with Entertainment Tonight, Julia told the reporter about her experience talking to real-life hookers. She said,
… I think, uh, for the most part, the consensus that I got was that it’s not a forever thing and the past has passed and it’s kind of every second that goes is deleted… nothing has existed to this point-only this point-and what may… I guess it’s denial, but it seemed kind of healthy in a way.
This is the exact sentiment of Wild Women Do, and, in my opinion, showcases the survivalistic mentality of these working ladies. In another part of the interview, Roberts stated how most of the women she talked to resorted to solicitation for a time and hoped to get out of the industry. In a scene talking to Edward, Vivian explains how she became a working girl by saying,
I worked at a couple fast food places, parked cars at wrestling. And I couldn’t make the rent. I was too ashamed to go home. That’s when I met Kit. She was a hooker and made it sound so great. So one day I did it… I cried the whole time. But then I got some regulars and, you know…It’s not like anybody plans this. It’s not your childhood dream.
While the expressed mentality of these ladies is often to give the metaphorical finger to the pearl-clutching elite, for many of these women, their reality is a nightmare.
A few moments later, when Richard and his lovely bank account accompany Vivian on her shopping excursion, Roy Orbison’s Oh, Pretty Woman is the soundtrack instead. Although Julia’s character is the same person in both scenes, the way she is perceived differs greatly from when she is with Edward to when she is not. The lyrics of Oh, Pretty Woman playing throughout the sequence display the buttoned-up and socially acceptable version of Vivian by saying,
“Pretty woman, the kind I’d like to meet… // Pretty woman, won’t you pardon me? // Pretty woman, I couldn’t help but see // Pretty woman, that you look lovely as can be”
Written in 1964 by Roy Orbinson and Bill Dees, Oh, Pretty Woman, became a classic rock hit almost immediately. Orbison wrote the song about his wife a few years before her unfortunate passing. An article from NPR shared the endearing story behind the song’s line, “mercy.” He shared that Orbison felt like he should say something while the guitar was playing, and Dees offered up the suggestion of “mercy,” by saying, “Everytime you see a pretty girl you say mercy.” The idea of Roy watching his wife so endearingly as to exclaim, “mercy,” on her morning commute to the store brings a smile to my face.
THROUGHLINES
Aspects of a story that gives it a well-written feeling are callbacks and through lines. While a relatively small detail, there are a few charming plot lines that follow the couple throughout the film.
The Man on the Street. To set the tone for a stroll down Hollywood Blvd, Iggy Pop’s Real Wild One fades out to the voice of a man saying,
“Welcome to Hollywood! Everybody comes to Hollywood got a dream. What’s your dream? What’s your dream? Hey mister? Hey, what’s your dream?”
“The Afro-American man walking down Hollywood Blvd,” Pretty Woman, directed by Gary Marshall, 1990.
At the end of the movie, as the orchestral music plays and the camera zooms out, we once again hear the man walking by say,
“Welcome to Hollywood. What’s your dream? Everybody comes here. This is Hollywood, the land of dreams. Some dreams come true, some don’t. But keep on dreaming. This is Hollywood. Always time to dream, so keep on dreaming.”
“The Afro-American man walking outside the Las Palmas hotel,” Pretty Woman, directed by Gary Marshall, 1990.
My interpretation of the walking man, or, as the script calls him, The Afro-American, is to set up the arch of the story. Vivian’s “dream,” is to make something of her life. She tells Edward of her “knight in shining armor,” fantasy from childhood, and, when Vivian is making the decision to not take Edward’s New York offer, she starts off this exchange by saying,
“I gotta get going.
Yes, I noticed you’re packed. Why are you leaving now?”
Edward, there’ll always be some guy, even some friend of yours, thinking he can treat me like Stuckey… You made me a really nice offer. And a few months ago, no problem. But now everything is different, and you’ve changed that. And you can’t change back. I want more.
I know about wanting more. I invented the concept. The question is, ‘how much more’?
I want the fairy tale.”
When Vivian is packing her bags from the apartment with Kit, presumably to move to San Francisco, Kit asks, “What are you going to do there,” to which Vivian replies,
Get a job. I finished high school. I got things I can do…
As the walking man comes back onto screen and the story concludes, we, the audience, get the satisfaction that Vivian is living her dream. Her dream of a new life with Edward.
Edward’s Fear of Heights. One of the first pieces of information we learn about Edward is his aversion to heights. When him and Viv initially enter the penthouse suite, she exclaims,
“Wow, great view! I bet you can see all the way to the ocean from out here.
I’ll take your word for it, because I don’t go out there.
Why don’t you go out there?
I’m afraid of heights.
You are? So how come you rented the penthouse?
It’s the best. I looked all around for penthouses on the first floor, but I can’t find one.”
While many of Edward’s though processes and emotions are hidden from the audience, we get the idea that, for the first time, Edward might actually be questioning why he chose the penthouse when he was, in fact, afraid of heights.
After the business dinner scene, Vivian comes back into the room to find Edward outside on the balcony. She starts,
Edward, you said you never come out here.
Well, I’m only halfway out.”
“Vivian and Edward outside on the penthouse balcony,” Pretty Woman, directed by Gary Marshall, 1990.
Not only was the scene beautifully directed by using the balcony doorframe to actually frame the shot and having Julia sit backlight by the cityscape to illuminate her beautiful silhouette, but the conversation shows the effect that her comment has on him.
Later on, after she rejects Edward, we see him fully standing out on the balcony so devastated that his fear becomes inconsequential.
“Edward looking over the penthouse balcony,” Pretty Woman, directed by Gary Marshall, 1990.
This personality trait shows up once more when Edward runs to fight for his lover. Looking up at Vivian, he expressed,
“Had to be the top floor, right?
It’s the best!
Alright, I’m coming up.”
“Edward climbing up the railing at the Las Palmas hotel,” Pretty Woman, directed by Gary Marshall, 1990.
Although he walks the ledge of his fear throughout the entire film, his sensibility and sense of danger becomes second rate to talking with Vivian. While this aspect of Edward continues to be a point of conversation and humor, the production team masterfully used it to propel the plot of the film.
At the beginning of their romance, Richard is in the bathroom, attempting, and failing, to fasten his work tie. At that point, Viv steps in to assist him.
“Vivian tying Edward’s tie,” Pretty Woman, directed by Gary Marshall, 1990.
When she’s walking down Rodeo, Vivian turns to one of the sale’s representatives, pointing at his tie, and says, “Edward would love that tie,” to which another man says to the associate, “Would you give her the tie?” In the next scene, we see Richard coming home to see Vivian acting as a model to show off his gift. The couple then share the exchange,
“How was your day, dear?”
“Nice tie.”
“I got it for you.”
“Vivian waiting for Edward notice her in the Beverly Wilshire hotel room,” Pretty Woman, directed by Gary Marshall, 1990.
The mention of the tie comes back once more to the conversation between Stuckey, Edward, and Vivian that we looked at earlier.
“Vivian, Edward, and Stuckey at the polo club,” Pretty Woman, directed by Gary Marshall, 1990.
The Hotel Key. The final callback I noticed in the movie was a relatively off-handed interaction between the two. When Edward initially takes Vivian up to his room the camera focuses on his struggle to operate the magnetic hotel key. He expresses the sentiment, “Oh, I miss keys,” before finally getting the door open. When the two are coming back from the polo club, Edward looks down at his hand to say, “huh,” when the key operates as intended.
CONCLUSION
After countless hours of writing, researching, and ruminating on the 1990 blockbuster masterpiece Pretty Woman, I am constantly in awe of the work and dedication that goes into every film. From Marilyn Vances’ back-breaking dedication to delivering textiles fit for royalty to evolution of the screenplay itself, this movie, like all worthwhile art, was a labor of love.
Even those who never knew they would touch the project, such as the Go West boys, experienced life-changing success from their participation in the film. While helping to launch the career of one of the most successful actresses of recent history, the story, itself, has touched the hearts and minds of individuals from all walks of life. Taking a script originally designed to reflect the darkness of life, Gary Marshall and his team of writers created one of the most gut-wrenchingly beautiful stories of hope and redemptive love to hit the screens. Gary W. Goldstein talked about the character’s beauty by saying,
…the investment banker from New York and the streets of Hollywood coming together- this unlikely duo where he had a certain wound, a certain skepticism and then she, despite her circumstances, was this ineffable spirit who had this sort of moral code.
A story about two ends of the spectrum coming together to find healing through one another is just real-life enough to make the audience feel seen. I am constantly in awe of this film’s ability to make me hurt for Vivian and feel the severity of her situation whilst also audibly laughing at the beautifully dry humor. Although Pretty Woman was released over 30 years ago in an entirely different culture and climate, the artistry continues to hold up as it has changed from a flashy new success to a Hollywood classic.
Sources
Bartlett, Rhett. “Albert Brenner Dead: ‘Sunshine Boys’ Production Designer Was 96.” The Hollywood Reporter, 12 December 2022, https://www.hollywoodreporter.com/movies/movie-news/albert-brenner-dead-sunshine-boys-missouri-breaks-1235280841/. Accessed 17 April 2025.
“BLS CPI Inflation Calculator.” Bureau of Labor Statistics, https://www.bls.gov/data/inflation_calculator.htm. Accessed 17 April 2025.
Cooke, Alex. “How “Pretty Woman” Used Cinematography to Create a Modern Fairytale.” Fstoppers, Fstoppers, 27 October 2024, https://fstoppers.com/education/how-pretty-woman-used-cinematography-create-modern-fairytale-683272. Accessed 17 April 2025.
The Costume Designer Guild. “GDB Movie Night- “Pretty Woman” with costume designer Marilyn Vance.” YouTube, Google, 16 September 2019, https://www.youtube.com/watch?v=SDVJpyEGE0g. Accessed 17 April 2025.
Cowan, Jared. “%%title%% – LAmag.” %%title%% – LAmag, 25 March 2020, https://lamag.com/featured/pretty-woman-30-years. Accessed 17 April 2025.
Entertainment Tonight. “’Pretty Woman’ Turns 25! Go Behind the Scenes with 21-Year-Old Julia Roberts.” YouTube, Google, 2015, https://www.youtube.com/watch?v=t-DA55JRfh0. Accessed 17 April 2025.
Fecteau, Jessica. “Garry Marshall Death: Behind the Scenes of Pretty Woman.” People.com, 20 July 2016, https://people.com/movies/garry-marshall-death-behind-the-scenes-of-pretty-woman/. Accessed 17 April 2025.
Film Courage. “True Story Behind ‘Pretty Woman’ – Gary W. Goldstein.” YouTube, Google, 2022, https://www.youtube.com/watch?v=yLwj4qrCxpI&list=PLez8jOvskc-PIos6xOMnWRAPkv_aWQE7p&index=35. Accessed 17 April 2025.
Flaa, Kjersti. “Richard Gere’s (PRICELESS) Reaction To Pretty Woman Bathtub Scene.” YouTube, 22 April 2017, https://www.youtube.com/watch?v=FB72ouvs58U. Accessed 17 April 2025.
Genius. “Go West – King of Wishful Thinking Lyrics.” Genius, Genius, https://genius.com/Go-west-king-of-wishful-thinking-lyrics. Accessed 17 April 2025.
Genius. “Roy Orbison – Oh! Pretty Woman Lyrics.” Genius, Genius, https://genius.com/Roy-orbison-oh-pretty-woman-lyrics. Accessed 17 April 2025.
Genius. “Who wrote “Wild Women Do” by Natalie Cole?” Genius, Genius, https://genius.com/Natalie-cole-wild-women-do-lyrics/q/writer. Accessed 17 April 2025.
Genius. “Wild Women Do.” Genius, Genius, https://genius.com/Natalie-cole-wild-women-do-lyrics. Accessed 17 April 2025.
IMDb. “J.F. Lawton Biography.” IMDb, IMBd, https://www.imdb.com/name/nm0493369/bio/?ref_=nm_ov_bio_sm. Accessed 17 April 2025.
Kimmel, Jimmy. “Julia Roberts Breaks Down 17 Memorable Looks From 1978 To Now | Life in Looks.” YouTube, 11 January 2024, https://www.youtube.com/watch?v=4rwqD0VSWwM. Accessed 17 April 2025.
Marshall, Gary, director. Pretty Woman. 1990. Touchstone Pictures and Silver Screen Partners IV, 1990. HBO Max, https://movie-locations.com/movies/p/Pretty-Woman.php. Accessed 17 April 2025.
Porreca, Brian. “Garry Marshall Talks ‘Pretty Woman,’ Julia Roberts at Film in California Conference.” The Hollywood Reporter, The Hollywood Reporter, 21 May 2016, https://www.hollywoodreporter.com/news/general-news/garry-marshall-talks-pretty-woman-896305/. Accessed 17 April 2025.
“Pretty Woman (1990).” IMDb, https://www.imdb.com/title/tt0100405/. Accessed 15 April 2025.
“Pretty Woman (1990) – Full cast & crew.” IMDb, https://www.imdb.com/title/tt0100405/fullcredits/?ref_=tt_cst_sm. Accessed 15 April 2025.
“Pretty Woman (1990) – Soundtracks.” IMDb, https://www.imdb.com/title/tt0100405/soundtrack/. Accessed 17 April 2025.
“Pretty Woman | Film Locations.” Movie Locations, https://movie-locations.com/movies/p/Pretty-Woman.php. Accessed 17 April 2025.
“Pretty Woman Turns 35: ON SET With Julia Roberts | ET Vault Unlocked.” YouTube, 22 March 2025, https://www.youtube.com/watch?v=YFCLdBiLxGY. Accessed 17 April 2025.
Professor of Rock. “King of Wishful Thinking – Story of the Song | Revelations | Professor of Rock.” YouTube, Google, 23 June 2020, https://www.youtube.com/watch?v=n9fQRo4SM-M. Accessed 17 April 2025.
“Read “Pretty Woman (final script)” Script.” The Internet Movie Script Database (IMSDb), https://imsdb.com/scripts/Pretty-Woman-(final-script).html. Accessed 15 April 2025.
Richard Gere and Julia Roberts, Pretty Woman, 1990.
Schnurr, Samantha. “Here’s How the Original Pretty Woman Was Supposed to End.” E! News, 20 October 2016, https://www.eonline.com/news/802816/here-s-how-the-original-pretty-woman-was-supposed-to-end. Accessed 17 April 2025.
Simonson, Robert. “Garrett Lewis, Award-Winning Set Designer, Dies at 77.” Playbill: A Trusted Theatre Resource Since 1884, Playbill, 7 February 2013, https://playbill.com/article/garrett-lewis-award-winning-set-designer-dies-at-77-com-202298. Accessed 17 April 2025.
[…] off her previous successes of Pretty Woman (1990) and, later, My Best Friend’s Wedding (1997), Julia Roberts secured herself the title […]