If you were on Twitter the day of the thirtieth rerun of Pretty Woman on Rai1 (the first was on April 13, 1992), you will certainly have noticed the hundreds of accounts that explained that a film of this genre today could no longer be shot both because the protagonist is a prostitute, and we know how obsessed Hollywood is from the idea that an actor cannot be anyone in order not to offend the susceptibility of the public, and because the tale of the millionaire prince with the Armani jacket who “saves” the girl who cannot slip an escargot is a patriarchal scheme that does not coincide with today’s seemingly progressive times. But we really believe that Pretty Woman is an example of this pattern? Let’s think about it: in material terms, of course, Vivian is the one who gains.
If at the beginning of the film she kept her boots on with a safety pin, at the last few bars she can boast a wardrobe to envy half Rodeo Drive (with many warm regards to the two haughty shop assistants who had kicked her out of their atelier and who, probably, they didn’t know the difference between celestial and cerulean) and the famous three thousand dollars that should have been the original title of the film when the producers had in mind to make a drama and not a romantic comedy. Aside from that, however, Vivian remains herself from start to finish. She continues to laugh out loud, to say everything that goes into her head, but also to bring out a sensitivity that makes her understand that life has never been for her, it’s that the time has come to get back into the game.
The one who really changes into Pretty Woman it’s Edward: it is he who, thanks to the girl’s closeness, calls his life into question by crumbling the walls steeped in cynicism that he had erected after his father’s death, getting rid of toxic friends – Stuckey above all – who buzzed around him and finally understanding the value of cooperation and mutual respect. The fact that he overcomes his fear of heights and that Vivian herself tells him that in the end it was “that big ass Cinderella” who saved the grizzled dude with immortal charm is perhaps the most feminist ending there is, appreciated, for the record, by 3,352,000 spectators who of Pretty Woman they know the lines by heartbut who can’t help but get up from the sofa every time and scream “bitchy snails.”
Pretty Woman: what (perhaps) you still don’t know about the most «cult» comedy there is
Julia Roberts: «Here is the other ending of Pretty Woman“
Pretty Woman: the timeless safe used by Raiuno (vol. 3)
To receive the other cover of Vanity Fair (and much more), subscribe to Vanity Weekend.
Source: Vanity Fair
