Pretty Woman


Julia Roberts and Richard Gere do the Ascot Gavotte.

Julia Roberts and Richard Gere do the Ascot Gavotte.

(1990) Romantic Comedy (Touchstone) Julia Roberts, Richard Gere, Ralph Bellamy, Jason Alexander, Alex Hyde-White, Hector Elizondo, Laura San Giacomo, Amy Yasbeck, Elinor Donahue, Judith Baldwin, Jason Randall, Bill Applebaum, Tracy Bjork, Gary Greene, William Gallo, Abdul Salaam El Razzac, Hank Azaria, Larry Hankin, Jacqueline Woolsey. Directed by Garry Marshall

Cinema of the Heart 2015

In my day, most little girls dreamed of being princesses swept away by a handsome prince and taken to a life of wealth and pampering. Little girls still have those dreams but sometimes the definition of “princess” and “prince” change a little.

Vivian Ward (Roberts) is a lady of the evening. Not her first choice in professions, but a necessity that will help her earn the cash she needs. Her best friend and roommate Kit De Luca (San Giacomo) is also a hooker. The two work the red light district of Hollywood.

Edward Lewis (Gere) is a ruthless corporate raider from New York, in Los Angeles for meetings to purchase a shipping company from James Morse (Bellamy). Lewis, not familiar with Los Angeles, gets hopelessly lost on his way to the Beverly Wilshire Hotel and ends up on Vivian’s corner. He asks her for directions; she asks for money. Edward, having trouble driving the stick shift on the Lotus Esprit, agrees to pay her to drive him to the hotel.

Once there, intrigued by her wit and her intelligence, he decides to hire her for the profession she has chosen for $300. They have strawberries and champagne (when she flosses the seeds out of her teeth he is amused) and watch reruns of I Love Lucy until they end up having sex.

Edward needs a date to several social events during the week and having hit it off with her, hires her to be with him for the entire week for $3,000. He also gives her a credit card and tells her to purchase some elegant dresses to wear. She goes to a shop on Rodeo Drive and is humiliated by snooty salesgirls who make fun at her overtly sexual appearance and her apparent non-sophistication.

She returns to the hotel completely devastated and snooty manager Barney Thompson (Elizondo) who at first felt disdain at the prostitute, sees her as a human being and a young girl. He helps her purchase a dress, then coaches her on etiquette. Edward returns from work and is amazed at the transformation. However, the business dinner he takes Vivian to with Morse and his son David (Hyde-White) doesn’t end well when Edward admits his intention is to break up the company and sell the land which is worth far more on the open market than it is with the shipping company on it. The Morses leave the table in disgust.

As the week continues, Edward begins to fall for the lively Vivian and she finds herself falling for Edward who is more vulnerable than he admits to being. His lawyer and business partner Philip Stuckey (Alexander) doesn’t approve of the changes he sees in Edward and blames Vivian for it which leads to a heated confrontation among the three of them.

In the meantime, Vivian is swept up in Edward’s world, flying up to San Francisco to see La Traviata at the San Francisco opera which transports her (it doesn’t hurt that the opera is about a wealthy man falling for a prostitute). He, on the other hand, is beginning to see just how empty his life has been without Vivian. Can their two worlds truly be compatible? Will she stay with him beyond the week he paid for?

This movie, along with When Harry Met Sally is credited with the resurgence of romantic comedies which popular in the 50s and 60s had declined to the point where not a single one was produced by a major studio during the 70s. The film is a frothy mix that benefits from Roberts’ bubbly personality and of course that amazing smile which lights up the screen. This would be her second Oscar nomination (she’d already received one for supporting actress in Mystic Pizza) and first for leading actress. It would also make her a genuine star and one of the biggest female box office attractions to this day.

There are those who look at this as anti-feminist and degrading to women, as Vivian seems to need to be “rescued” by a man from a life of exploitation by other men. I don’t agree with that assessment. Vivian is strong and yes, she’s being exploited but she wants more and is on the road to achieve it without Edward’s help (she even refuses it). That she ends up with her knight in shining armor is because she changed him, not because she needed him to save her.

That aside, this is one of those movies that is a Valentine’s Day go-to. For many women, this is a favorite and for a lot of men as well – not just as a romantic comedy but as a movie. There’s something about it that appeals to people, the idea of being plucked out of your mundane existence and into a life of wealth. Who wouldn’t want that?

Roberts, who is amazing here, isn’t alone. Elizondo has always been one of my favorite character actors and this is the performance that made him that for me. Bellamy and Hyde-White are sympathetic, and San Giacomo, who I had a bit of a movie crush on at the time, is gorgeous and feisty, a perfect foil for Roberts. Even Alexander, who would go on to play more bumbling comedic roles, does a terrific job as the truly nasty Philip.

There is a warmth here that is quite frankly a hallmark of Garry Marshall films. In many ways, this is the movie he’ll be remembered for (although there are those that insist that the TV show Happy Days will be his artistic nadir) and if so, not a bad legacy to leave behind. It’s a modernization of the Cinderella fable that resonates with all of us as to the trasnformative power of love, something that is so powerful it changes our lives for the better. There’s no doubt that for most couples, this is a Valentine’s Day movie that you can’t go wrong with.

WHY RENT THIS: Roberts at her very best. One of the most romantic movies of all time. Nice supporting performances by Elizondo, Bellamy and San Giacomo.
WHY RENT SOMETHING ELSE: Some are uncomfortable with Vivian’s performance.
FAMILY VALUES: Some sexual situations and adult themes to go with a smattering of foul language here and there.
TRIVIAL PURSUIT: This would be Bellamy’s final film.
NOTABLE HOME VIDEO EXTRAS: The 15th Anniversary DVD edition is loaded with ’em; a Natalie Cole music video, footage from the wrap party (in which we get to see Gere, Roberts and Marshall warble “Don’t Let Me Be Misunderstood” to an appreciative audience, a tour of the locations that the production filmed at in 1990 with Marshall as your tour guide and a blooper reel.
BOX OFFICE PERFORMANCE: $463.4M on a $14M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental), Amazon (buy/rent), Vudu (buy/rent),  iTunes (buy/rent), Flixster (not available), Target Ticket (not available)
COMPARISON SHOPPING: Cinderella
FINAL RATING: 9/10
NEXT: Still Alice

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Rosemary’s Baby


Rosemary's Baby
And baby makes three.

(Paramount) Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer, Ralph Bellamy, Maurice Evans, Angela Dorian, Elisha Cook Jr., Patsy Kelly, Charles Grodin. Directed by Roman Polanski

The trouble with evil is that it is unpredictable. There are rarely situations in which you can point to something and say “that’s evil” and avoid it; sometimes evil emerges from subtle and unassuming sources – even things that we would normally consider good.

Guy Woodhouse (Cassavetes) is a struggling actor living in New York. He and his wife Rosemary (Farrow) are looking for an apartment that is bigger than the one they live in because they are planning to have a family soon. They find the Bramford on Central Park, a tony address and find the perfect apartment with a gorgeous view that had just become available.

While many of the residents of the Bramford are elderly, Rosemary still has friends from her previous life, none closer than Hutch (Evans), a writer of children’s books. While Rosemary paints and decorates her new apartment, she does meet one young lady, Terry (Dorian), an ex-drug addict who has been taken in as a ward by a couple that lives next door – Roman (Blackmer) and Minnie Castevet (Gordon).

Shortly after that, Terry commits suicide and the Castevets and Woodhouses meet for the first time. The Castevets invite their new neighbors over for dinner afterwards when Rosemary speaks kindly to Minnie about their recently deceased ward. Guy is reluctant at first – he’s just lost out on a plum role to another actor – but he relents and he actually winds up enjoying the company of the much-travelled Roman and his busybody wife.

Despite Guy’s career shortcomings, he and Rosemary decide it’s the right time to get pregnant. Minnie brings over a chocolate mousse that seems tasty but winds up knocking Rosemary out. She has a strange dream afterward of being raped by a beast-like demon. Soon after that, she discovers that she’s pregnant. Her obstetrician, Dr. Hill (Grodin) puts her on vitamins but Minnie won’t hear of it. She’s close with Dr. Abe Saperstein (Bellamy), one of the best-known obstetricians in New York if not the world. She arranges for Rosemary to be one of his patients.

Although Rosemary is suffering from a weird, constant pain, Dr. Saperstein tells her that it’s normal and refuses to prescribe anything for it. In the meantime, the actor that had gotten the part Guy wanted had mysteriously gone blind and the part was now Guy’s. It turns out to be precisely the break Guy was looking for.

Rosemary and Guy are deliriously happy, but all isn’t as it seems, particularly those who seem the friendliest towards them. A monstrous conspiracy is afoot and Rosemary becomes paranoid, particularly when people she knows begin to die off mysteriously. Soon she realizes that she’s alone against a powerful evil, one that wants her unborn baby – but for what purpose?

This is a classic of the horror genre, and in many ways it’s not even a horror movie. Director Polanski, for whom this was his first American film, creates an atmosphere of growing menace that becomes so palpable even the viewer at home gets caught up in it. There isn’t much gore (mostly seen in the death of Terry) and all the violence happens off-screen for the most part (even the rape is more suggested than seen) but still you’re given a firm grasp of the evil surrounding Rosemary and find yourself immersed in her struggle to escape it.

The movie was based on a noted bestseller by Ira Levin which I’ve actually read – the movie follows it nearly word for word (legend has it that because Polanski had never adapted another work for the screen before, he didn’t realize that he could make changes of his own). As the movie progresses, the outcome seems inevitable but still there’s a twist at the end that back in 1968 when the movie was released took audiences completely by surprise – most modern audiences however are aware of the twist simply because it has been so widely associated with the movie since then. That’s a shame because the movie works much better if you aren’t aware how it ends.

Even so, the movie’s main weapon is Farrow. Her performance as Rosemary is so ordinary, so naïve but so completely believable that she nails Polanski and Levin’s vision of Rosemary as the Girl Next Door caught up in a horror greater than she can imagine. By the time she realizes what’s going on, it’s far too late.

Gordon and Blackmer also give fine supporting performances as the Castevets; they have the right attitude to be the consummate New York elderly busybody couple, Gordon’s accent almost Yiddish in places. While the characters are certainly products of their time, they still manage to give off no menace other than in underlying ways that when you look back at the movie, you realize they were creepy all along and you just didn’t realize it. It’s amazing work by any standard.

While this movie is well over forty years old, it has held up well. I watched it again the other night while Da Queen lay sleeping (she finds horror movies too disturbing) and realized that if it had been released last Friday, it would still be just as effective today as it was back then. Horror movies rarely get any better than this one.

WHY RENT THIS: Polanski creates a mood so creepy and troubling that the viewer feels the whole time that something is completely wrong.

WHY RENT SOMETHING ELSE: There is little gore and only a few scenes of outright horror which may not meet the standards of modern horror fans.

FAMILY VALUES: While relatively tame by our standards, it does depict a rape and there is a good deal of talk about female pregnancy as well as a good deal of smoking and drinking. There is also some female nudity. While it received an R rating at the time of its release, I would think that it would be adequate viewing for most mature teenagers.

TRIVIAL PURSUIT: The voice on the phone of the actor who had gone blind, clearing the way for Guy to get the part was an uncredited Tony Curtis. Farrow was unaware who she was talking to, although she recognized the voice she couldn’t place the name. Also, the movie was filmed at the Dakota, the apartment complex on Central Park later made infamous by being the location where John Lennon was murdered.

NOTABLE DVD EXTRAS: The pickings are rather slim. There’s an interesting retro interview with Polanski, producer Robert Evans and production designer Richard Sylbert. There is also an original making-of feature that is fascinating as a historical artifact.

BOX OFFICE PERFORMANCE: Not available.

FINAL RATING: 9/10

TOMORROW: Secretariat