Pretty Woman is the movie that launched Julia Roberts to mega-stardom. Though Roberts had a few films under her by the time Pretty Woman was released (Mystic Pizza, Satisfaction and Steel Magnolia’s), there’s no question that Richard Gere was the bigger star as the film went before the cameras. However, one look at Roberts’ huge smile and gorgeous face, with an infectious laugh and personality to match and America had a new sweetheart. Much like Gregory Peck in 1951’s Roman Holiday, who faded into the background when luminescent Audrey Hepburn steeped on the screen, Richard Gere quickly became Julia Roberts second banana.
Gere plays Edward Lewis, a calculating, aloof millionaire who doesn’t seem to really feel much at all. He specializes in corporate takeovers; buying up failing companies at low prices and selling them piecemeal for huge profits. Edward is a workaholic and unable to maintain a relationship. One night, he stops his car along a seedy stretch of Sunset Boulevard and asks a young prostitute for directions to his Beverly Hills hotel. For $20 Vivian (Roberts) takes him there personally. As it turns out, Edward needs a female companion to help him close a business deal, so he hires Vivian to spend the week with him. Despite the fact that Edward and Vivian come from two different worlds, they share a common understanding–both of them traffic in buying in selling. What neither of them is prepared for is to fall in love. Their tentative romance derives from a mutual distrust, and the comedy derives from the clashes of their two very different worlds.
Now, anyone looking for a sense of reality need not look here. Director Garry Marshall (Beaches, The Princess Diaries) and screenwriter J.F. Lawton (Under Siege) created what can only be considered a fantasy. The film is a fairytale from beginning to end. On the back of the Blu-ray, Buena Vista describes Vivian as “a spirited, diamond in the rough.” There’s no doubt she is but the studio fails to mention anywhere, Vivian’s job as a prostitute walking Sunset Boulevard. Instead, the focus is squarely on Vivian’s evolution as a modern day Cinderella.
Roberts received a Best Actress Oscar nomination for her role and it’s easy to see why. Only 22 at the time, Roberts shows great range; her portrayal of Vivian is sexy, energetic and swaggering, while at the same time exposing her vulnerability. There are plenty of times when the audience is aware Vivian feels overwhelmed by Edward’s life and the people who pass through it and she has to force herself to stay level-headed. Gere’s performance is more understated. As Edward, he doesn’t really have highs and lows until the very end, when he realizes Vivian is the woman he’s been looking for all his life.
Besides Roberts, Pretty Woman contains several other memorable performances; Jason Alexander as Edward’s money-grubbing lawyer; Laura San Giacomo as Vivian’s roommate and fellow hooker; and the inimitable Hector Elizondo as a seemingly pompous hotel manager who soon befriends the struggling Vivian.
Even after all these years, Pretty Woman is a delight to watch. Though Julia Roberts finally snagged a Best Actress Oscar for 2000’s Erin Brockovich, my guess is, more fans will remember her for portrayal of sassy Vivian Ward when the tributes are held and obituaries written.
Pretty Woman looks impressive in this 1080p high definition transfer, the film presented in its original 1.85:1 aspect ratio. It’s not overly bright, perhaps a shade or two dimmer than may be expected. Black levels are wonderful; the nighttime street-level shots of Beverly Hills during the film’s first act are splendid. Flesh tones look slightly red on occasion but are mostly stable. Fine detail is adequate but not absolute top quality. Bright outdoor scenes fare the best; a polo sequence in chapter eleven is the highlight of the film from a purely visual, high definition perspective. Natural film grain is present throughout that adds a sometimes surprisingly gritty feel to several sequences, but also lends to the film a nice theatrical feel. Pretty Woman isn’t a high definition showcase but it’s still a real treat to see a classic like this looking as good as it does here. Fans should be thrilled by this release.
Pretty Woman shines in high definition with a lovely PCM 5.1 uncompressed soundtrack, and the film has never sounded better. The best part of the experience is enjoying the classic soundtrack, which plays better than ever. The music isn’t overplayed, over-pumped but natural and pleasant. It’s all focused up front, with a nice amount of heft accompanying each song. Christopher Otcasek’s “Real Wild Child,” David Bowie’s “Fame 90,” Roxette’s “It Must have Been Love,” and Natalie Cole’s “Wild Women Do” are among the selections that lend to the film its stature as an all-time classic soundtrack, bring back memories of the 1990s, and, of course, sound fantastic in PCM 5.1 lossless audio. Roy Orbison’s “Pretty Woman,” heard briefly and instrumentally for the first time in chapter 10, delivers a nice bit of low bass, the best in the film. Then, the song begins in full over a brief montage, delivering a clear but classic sound. There is a nice sense of space to the track, particularly across the front, especially in regards to the popular music and atmosphere. The rear channels don’t receive much action, but that’s forgivable. Like the video, Pretty Woman’s soundtrack won’t amaze the senses, but it’s very good for what it is, and what it needs to accomplish.
Additional audio options are English 5.1 Dolby Surround and French and Spanish Dolby Digital 2.0, with subtitles in English SDH, French, and Spanish.
If you already have the 15th Anniversary DVD, then you already have the bonus features. But if you’re looking to upgrade to Blu-ray, at least it’s all here. On the director’s commentary Marshall, points out people he cast, slaps a few people on the back, and offers far more plot and character summary than he does insight into the filming. The blooper reel (barely three minutes long) is also pretty standard. More unique to the film is “Live from the Wrap Party,” a four-minute snippet that shows the actors performing the old Animals’ tune, “Don’t Let Me Be Misunderstood”–badly. Another four-minute teaser of a feature, a 1990 production featurette, is essentially a pre-release promo, while fans of Natalie Cole will be amused by her music video of “Wild Women Do.” The best feature is “LA: The Pretty Woman Tour,” a 10-minute animated map tour that’s narrated by Marshall.
