How "Pretty Woman" Sells Unrealistic Fantasies to Deluded Women & Blue-Pilled Men
I just finished watching the romantic comedy Pretty Woman (1990), which was recently mentioned to me by a friend.
This movie stars two of the biggest stars of their time, Richard Gere and Julia Roberts.
In the 1990s, this pairing was like Brad Pitt and Angelina Jolie teaming up, though Gere and Roberts have a more elegant, classy look compared to Pitt and Jolie’s edgier style.
Pretty Woman is a surprisingly well-crafted film and was a massive box office hit, earning $463 million on a $14 million budget.
That kind of ROI is rare in Hollywood today.
While I knew the film’s title and basic premise, I was still surprised by many aspects, especially the clever dual structure of the story.
Pretty Woman is a modern fairy tale. I thought it was about a high-class escort and her wealthy client falling in love, but the story is even more unrealistic—and that’s what makes it so commercially appealing.
The female lead is a low-end street hooker with hilariously bad manners, while the male lead is the ultimate alpha male: incredibly handsome, rich, and a successful businessman who closes billion-dollar deals.
He’s also cultured, both in the traditional and modern sense. After breaking up with his high-class gf, he picks up the hooker and, because he likes her, pays her to stay with him for a week.
Instead of just using her for sex, he takes her to fancy events as his companion.
At one point, he brings her to a business dinner with a wealthy man whose company he plans to buy, dismantle, and sell off—possibly to intimidate or unsettle him.
There’s a subtle passive-aggressive side to Richard Gere’s character, but it’s not fully explored in the film.
As the female protagonist is introduced to the world of the wealthy, she begins to enjoy herself immensely.
The film occasionally makes obvious social commentary about the divide between the rich and the poor, emphasizing the huge gap between the wealthy man and the street hooker he pays $3,000, plus expenses, to keep him company in his luxurious hotel suite.
He also buys her loads of designer clothes and even takes her on a private jet to another city to attend an opera premiere.
In short, after a week-long emotional journey, the street hooker finds her perfect match, and they presumably live happily ever after.
The main audience for this film is women. The story tells them that even a street hooker can win over one of the most desirable men in the world.
Considering looks, social status, and wealth, a man like the male protagonist in this film probably doesn’t exist in real life.
Yet, in Pretty Woman, he’s there for the taking. Julia Roberts’ character doesn’t even have to try hard to win him over.
By simply being herself, she charms him, and her low-class behavior only triggers his protective instincts or amuses him.
Telling women that a perfect man is out there waiting for them is one thing, but creating a film about a street prostitute landing a handsome, wealthy businessman is almost laughable.
Essentially, the story suggests that even a woman from the lowest social status can attract a man of the highest status in society.
It’s easy to see why Pretty Woman was irresistible to female viewers.
There’s also a message for men in this film, and this is where Pretty Woman rises above typical romantic comedy clichés.
It subtly insults men while also flattering their egos. The insult, which plays into female grandiosity, is that even a high-status man can fall for a street prostitute and give her access to his wealth.
After all, if you wanted to date a street prostitute, being rich and handsome wouldn’t be necessary. This adds an element of humiliation that hateful women likely enjoyed while watching.
No man wants to admit he’s dating someone with a questionable past, let alone a prostitute.
But more interestingly, the film also appeals to the men dragged to the cinema by their wives or girlfriends. We often joke about the “captain-save-a-hoe” stereotype, but men stuck in this pattern find meaning in it.
The idea of transforming a troubled woman into a loyal partner motivates them, even if it’s often futile.
In this film, the male protagonist achieves exactly that: he takes a literal street prostitute and successfully turns her into a refined lady. She quickly learns how to walk, talk, and behave in public, though she occasionally slips up to remind viewers the transformation isn’t complete.
In the “captain-save-a-hoe” world, turning a wh*re into a lady is the ultimate challenge. Yet, the film suggests it’s possible, so why should men complain about their partners’ flaws, like poor money management or infidelity?
Maybe the problem isn’t the woman but the man’s lack of resources or looks. Thus, a failed “save-a-hoe” project is blamed on male inadequacy, not the woman being beyond help.
Pretty Woman is a cleverly crafted film that appeals to both delusional women and blue-pilled men.
The story is absurd, but its boldness makes it widely appealing.
The plot alone makes it worth watching, as a lot of thought went into its structure. For a romantic comedy, the depth is surprisingly rich.
Compared to today’s Hollywood trash, this film feels like high literature. It’s arguably the most unrealistic romcom ever made, which is likely why it’s also one of the most commercially successful in its genre.
-MOS
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Good perspective. Mine was that this is a nonsensical feel good movie, sort of like watching (and laughing) at Gru with my kids.