Could this be considered a believable Pygmalion story? Edward Lewis is a wealthy individual, but as everyone knows, money doesn't guarantee happiness, and after another relationship fails, he faces a week alone on the social scene. Then he meets Vivian Ward, an energetic sex worker who impresses him with her positive attitude and gets hired to be his escort for the following week—a week neither of them will soon forget. It’s become something of a trend to criticize the performances of Richard Gere (as Edward) and Julia Roberts (as Vivian), and this negativity is fueled by the fact that *Pretty Woman* belongs to the 1980s romantic comedy genre, which some people dislike. It seems many now struggle to understand what made *Pretty Woman* so popular in 1990. Gary Marshall's film was the fourth-highest grossing movie of 1990, earning $178,406,268 domestically and reviving the popularity of date movies; so anyone disliking *Pretty Woman* should consider those facts. As the opening credits roll, Peter Cox, lead singer of Go West, begins singing "The King Of Wishful Thinking," a song that perfectly suits this type of film—perhaps more than any before or since. This is really the central issue with *Pretty Woman*. Yes, the plot and structure are entirely fanciful; does anyone genuinely believe sex workers resemble Julia Roberts? But if you're going into this movie expecting anything other than a modern-day *My Fair Lady*-style fairytale, you need to adjust your expectations. It’s worth noting that *Pretty Woman* has more to offer beyond simply making people happy and smile; Marshall, along with screenwriter J.F. Lawton, cleverly highlights the fact that Edward is hustling just as much as Vivian, except he's incredibly wealthy and enjoys a higher public profile because of it. The chemistry between Roberts and Gere is undeniable, which explains why they reunited in 1999 for *Runaway Bride*. They are also greatly supported by Hector Elizondo’s performance as hotel manager Barney Thompson. The film has many joyful moments reminiscent of classic screwball comedies with improbable romances, and this clearly resonated with audiences when it was first released. It can be a bit overly sentimental at times, and the outcome is never truly in question, but if you're willing to spend some lighthearted time with *Pretty Woman*, you can understand why it was such a success early in the 90s. 8/10

Source on TMDB