Pretty Woman

The film was initially conceived as a dark drama about prostitution in Los Angeles in the 1980s.[4] The relationship between Vivian and Edward also originally involved controversial themes, including Vivian being addicted to drugs; part of the deal was that she had to stay off cocaine for a week. Edward eventually throws her out of his car and drives off. The original script by J.F. Lawton, called 3000,[5] ended with Vivian and her prostitute friend on the bus to Disneyland.[4] Producer Laura Ziskin considered these elements detrimental to a sympathetic portrayal of Vivian, and they were removed or assigned to Kit. The deleted scenes have been found, and some were included on the DVD released for the film's 15th anniversary.[4] In one, Vivian tells Edward, "I could just pop ya good and be on my way", indicating her lack of interest in "pillow talk". In another, she is confronted by a drug dealer, Carlos, then rescued by Edward when the limo driver Darryl gets his gun out.

Though inspired by such films as Wall Street and The Last Detail,[5] the film bears a resemblance to Pygmalion myths: particularly George Bernard Shaw's play of the same name, which also formed the basis for the Broadway musical My Fair Lady. It was Walt Disney Studios then-president Jeffrey Katzenberg who insisted the film be re-written as a modern-day fairy tale and love story, as opposed to the original dark drama. It was pitched to Touchstone Pictures and re-written as a romantic comedy.[6] The title 3000 was changed because Disney executives thought it sounded like a title for a science fiction film.[7]

Casting of the film was a rather lengthy process. Marshall had initially considered Christopher Reeve, Daniel Day-Lewis, Kevin Kline, and Denzel Washington for the role of Edward, and Albert Brooks,[8] Al Pacino and Burt Reynolds turned it down.[9] Pacino went as far as doing a casting reading with Roberts before rejecting the part.[10] Sam Neill, Tom Conti and Charles Grodin tested for the part along with Roberts.[11] Gere initially refused but when he met with Roberts, she persuaded him and he eventually agreed to play Lewis.[12] He reportedly started off much more active in his role; but Garry Marshall took him aside and said "No, no, no, Richard. In this movie, one of you moves and one of you does not. Guess which one you are?"[13] Julia Roberts was not the first choice for the role of Vivian, and was not wanted by Disney. Many other actresses were considered. Marshall originally envisioned Karen Allen for the role; when she declined, auditions went to many better-known actresses of the time including Molly Ringwald,[14] who turned it down because she felt uncomfortable playing a prostitute. Winona Ryder auditioned, but was turned down because Marshall felt she was "too young". Jennifer Connelly was also dismissed for the same reason.[4] Emily Lloyd turned it down as it conflicted with her shooting for the film Mermaids.[15] Drew Barrymore, Brooke Shields, Uma Thurman, and Kristin Davis auditioned for the role of Vivian.[16]

Meg Ryan, who was a top choice of Marshall's, turned it down as well. According to a note written by Marshall, Mary Steenburgen was also among the first choices. Diane Lane came very close to being cast (the script was much darker at the time); they had gone as far as costume fittings, but due to scheduling conflicts she could not accept. Michelle Pfeiffer turned the role down, saying she did not like the script's "tone."[17] Daryl Hannah was also considered, but believed the role was "degrading to women".[17] Valeria Golino declined, doubting it would work with her thick Italian accent. And Jennifer Jason Leigh had auditioned.[18] Lea Thompson unsuccessfully auditioned for the role as she thought the film was a drama.[19] When all the other actresses turned down the role, 21-year-old Julia Roberts, a relative unknown, with only the sleeper hit Mystic Pizza (1988) and the yet-to-be-released Steel Magnolias (1989), for which she would be nominated for the Academy Award for Best Supporting Actress, won the role of Vivian. Her performance made her a star. J.F. Lawton, writer of the original screenplay, has suggested that the film was ultimately given a happy ending because of the chemistry of Gere and Roberts.[5]

Veteran actor Ralph Bellamy, who plays James Morse, appears in his final acting performance before his death in 1991. Jason Alexander, who had also recently been cast for his role as the bumbling George Costanza in Seinfeld, was cast as Philip Stuckey. A VHS copy of Pretty Woman would appear in Seinfeld's apartment in later seasons of Seinfeld as a homage to Alexander's participation in the film.

The film's budget was substantial, at $14 million, so producers could shoot in many locations.[4] Most filming took place in Los Angeles, California, specifically in Beverly Hills, and inside soundstages at Walt Disney Studios in Burbank. The escargot restaurant the "Voltaire" was shot at the restaurant "Rex," now called "Cicada". Scenes set in the Beverly Wilshire Hotel lobby were shot at the Ambassador Hotel in Los Angeles. Filming commenced on July 24, 1989, but was immediately plagued by problems. These included Ferrari and Porsche declining the product placement opportunity for the car Edward drove, neither firm wishing to be associated with prostitutes.[4] Lotus Cars saw the placement value, and supplied a Silver 1989.5 Esprit SE (which was later sold).[20]

Shooting was a generally pleasant, easy-going experience, as the budget was broad and the shooting schedule was not tight.[4] While shooting the scene where Vivian is lying down on the floor of Edward's penthouse, watching reruns of I Love Lucy, Garry Marshall had to tickle Roberts' feet (out of camera range) to get her to laugh.[21] The scene in which Gere playfully snaps the lid of a jewelry case on her fingers was improvised, and her surprised laugh was genuine. The red dress Vivian wears to the opera has been listed among the most unforgettable dresses of all time.[22]

During the scene in which Roberts sang to a Prince song in the bathtub, slid down and submerged her head under the bubbles; she emerged to find the crew had left except for the cameraman, who captured the moment on film. In the love scene, she was so stressed that a vein became noticeable on her forehead and had to be massaged by Marshall and Gere. She also developed a case of hives, and calamine lotion was used to soothe her skin until filming resumed.[4] The filming was completed on November 30.[23]

Shelley Michelle acted as body double for Roberts in risqué scenes and the film poster.[24]

In its opening weekend, the film was at number one at the US box office, grossing $11,280,591 and averaging $8,513 per theater.[25] Despite dropping to number two in its second weekend, it grossed more with $12,471,670.[25] It returned to number one at the US box office in its sixth weekend and was number one for three weeks. It was in the Top 10 movies in the US for 16 weeks.[25] In Australia, it was number one for 12 weeks and was number one for nine consecutive weeks in the UK. It has grossed $178,406,268 in the United States and $285,000,000 in other countries for a total worldwide gross of $463,406,268.[3] It was the fourth highest-grossing film of the year in the United States and Canada[26] and the third highest-grossing worldwide.[27] The film was Disney's highest-grossing film ever, surpassing Three Men and a Baby, and remains Disney's highest-grossing R-rated release.[28][29][30]

On review aggregator Rotten Tomatoes the film holds an approval rating of 65% based on 72 reviews, with an average rating of 6.10/10. The website's critical consensus states, "Pretty Woman may be a yuppie fantasy, but the film's slick comedy, soundtrack, and casting can overcome misgivings."[31] On Metacritic, the film has a weighted average score of 51 out of 100, based on 18 critics, indicating "mixed or average reviews."[32] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[33]

Owen Gleiberman of Entertainment Weekly gave the film a D, saying it "starts out as a neo-Pygmalion comedy" and with "its tough-hooker heroine, it can work as a feminist version of an upscale princess fantasy." Gleiberman also said it "pretends to be about how love transcends money," but "is really obsessed with status symbols."[34] On its twentieth anniversary, Gleiberman wrote another article, saying that while he felt he was right, he would have given it a B today.[35] Carina Chocano of The New York Times said the movie "wasn't a love story, it was a money story. Its logic depended on a disconnect between character and narrative, between image and meaning, between money and value, and that made it not cluelessly traditional but thoroughly postmodern."[36]

• It ranks on #21 in AFI's 100 Years... 100 Passions.