Pretty Expensive Woman

Paper Summary:

This paper discusses how in Garry Marshall's "Pretty Woman" (1990), a distinct ideology based in Hollywood's film and television is clearly outlined. It looks at how, by conforming to the Hollywood ideology, the world where "Pretty Woman" takes place is normalized by a society seeking the good and just in every subject and creating ideals like romantic love in a patriarchal society or individual achievement through capital gain. The paper also examines how, in an effort to keep Hollywood's values similar throughout cinema, Garry Marshall has endorsed the institutions of capitalism and patriarchy in "Pretty Woman" by reducing the taboo subject of prostitution through the monetary, masculine achievements of Richard Gere's character.

From the Paper:

"Through Edward's wealth, he is able to set up a patriarchal control over Vivian, subjugating her beneath his capital and masculine dominance. By simply being an archetypal male figure, Edward is able to acquire wealth. Whenever Edward is at a meeting, about to conquer another business, the only other employees are men. Men are the only ones with any power in the film: Edward, the hotel manager, Stuckey. The women, as Edward Lewis wants, are constantly at his "beck-and-call." Even at the pivotal scene where Vivian is going to leave Edward because he told his friend Stuckey that she is a prostitute, he is able to convince her to come back to him. He tells her that he "didn't like it" when she was talking to David Morse. Edward treats her like a piece of property that he purchased, and in many cases, her time is purchased. "

Sample of Sources Used:

• Pretty Woman. Dir. Garry Marshall. Perfs. Richard Gere, Julia Roberts. Touchstone Pictures, 1990.

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