While Pretty Woman is a heartwarming film, touted by many as one of the most iconic examples of a 90s romantic comedy, its depiction of prostitution in Los Angeles has been criticized as being alternately unrealistic, squeaky-clean, glamorizing, and belittling. Interestingly enough, the version of Pretty Woman that became so iconic was an update on an earlier draft of the script that was much grittier, and perhaps more realistic. While it is impossible to say whether that earlier draft might have been more equitable, it is worth looking into the ways that Pretty Woman treats the subject of sex work, and investigate whether its portrayal of Vivian's career is irresponsible.
In an article in Time entitled "Here's What Former Sex Workers Think of Pretty Woman," opinions vary. While one prostitute who endured a difficult life as a prostitute argues that "there are no Vivians," another sex worker, who used sex work to pay for college, sees it as an accurate depiction of someone who is using the system to ascend an economic ladder. The article states, "Petro, who worked in the sex industry to help put herself through college, thinks the movie is more about class climbing than prostitution." Petro seems to be in the minority, however, with most people who have had interactions with prostitution agreeing that it is a far more violent career path, one in which survival is the top priority, rather than finding a "fairytale ending."
In another article entitled "Pretty Woman got everything wrong about sex work," Margaret Corvid writes about the ways that the film stigmatizes sex work, which can be a respectable and straightforward profession. She writes, "Her status as a sex worker only bears stigma because the film writes it that way, conforming to the social norm that a sex worker is low, and never a lady. In the real world, Edward’s controlling and stalkerish behaviour would not be romantic—it would be terrifying, especially to a sex worker." In her view, the film stigmatizes sex work by suggesting that it is "low," or something to escape. A more empowered depiction, she suggests, might be to show that Vivian takes pride in her profession as a sex worker, and sets the appropriate boundaries with the client, Edward.
In Dazed, Heather M. Corcoran writes, "Besides belittling the dangers of an illegal trade that often preys on vulnerable people—mostly young women—the plot reinforces the very ideas that prop up the industry by keeping sexual power dynamics firmly unbalanced." Corcoran suggests that not only does the film sanitize the prostitution industry in a detrimental way, but also repeats the sexist gender dynamics that perpetuate the seedier and more violent elements of that very industry. Even though the film makes an attempt to depict Vivian as self-sufficient and self-motivated, by bringing her back into a relationship with Edward, Corcoran believes that the film makes Vivian dependent on a man. In Corcoran's eyes, the film is hardly the feminist rom-com it purports to be.
