Garry Marshall
104 connections found
Filmography
Exit to Eden 1994 
Pretty Woman 1990 
Valentine's Day 2010 
The Princess Diaries 2001 
The Other Sister 1999 
Raising Helen 2004 
New Year's Eve 2011 
The Flamingo Kid 1984 
Mother's Day 2016 
Beaches 1988 
Overboard 1987 
Nothing in Common 1986 
Runaway Bride 1999 
Dear God 1996 
Frankie and Johnny 1991 
Georgia Rule 2007 View:
Connections, in both directions
Once, Natalie was a little girl who loved watching Pretty Woman and fantasizing about the romantic life she’d lead as an adult.
As a child, Natalie was a wide-eyed Pretty Woman fan with dreams of finding her Richard Gere.
The problem isn't rom-coms and the anti-empowerment dreams they hawk; it's the defeatist mantra that Natalie's mom (Jennifer Saunders) plants in her head, a reaction to the particular dream-hawking fantasies of Pretty Woman .
She’s dressed in “Pretty Woman” (post-makeover) wear, sent out into the street, where seagulls fly in heart-shaped flocks and “New York doesn’t smell like s–t any more!”
The movie constantly reminds us of superior rom-coms — everything from Pretty Woman to When Harry Met Sally to 500 Days of Summer — over the course of a sloppily written story that fails as both romance and comedy.
Long Shot (2019)
Directed by Jonathan Levine
influenced by Pretty Woman (1990)
Plot Characters Music
The studios were bound to catch my attention with a romcom that’s a reversed Pretty Woman, with a splash of There’s Something About Mary, and a twist of Dave.
Long Shot references Pretty Woman, but the Julia Roberts movie it most resembles is Notting Hill, in which a nobody (Hugh Grant) finds himself in a relationship with the world’s most famous movie star.
Luckily, Long Shot uses the odd coupling of Charlize Theron and Seth Rogen to its absolute advantage in a Veep meets Pretty Woman style romantic comedy that is sure to stand the test of time.
Take The American President, Notting Hill, and Pretty Woman and put them into a blender with some modern political subtext, copious amounts of illegal substances, and a handful of jokes about unfortunately timed erections and you’ll get Jonathan Levine’s Long Shot, a film that’s far more charming, sweet, and hilarious than I probably just made it sound.
This puts him in an unwillingly “feminised” position, comparing himself to Julia Roberts in Pretty Woman and Marilyn Monroe with JFK.
When Fred and Charlotte share a dance to Roxette’s “It Must Have Been Love,” it’s a throwback to how significant that tune was in another movie— Pretty Woman —about two other people from wildly different worlds coming together and falling, improbably, in love against the odds.
The Princess Diaries is the latest in a seemingly endless line of Pygmalion-inspired films about ugly ducklings who are turned into beautiful swans.
This is, of course, the same kind of Pygmalion story which launched Andrews herself to fame as Eliza Doolittle in the Broadway production of My Fair Lady all those years ago.
But while she skeptically contemplates accepting or renouncing her royalty -- and the responsibility and exposure that would come with it -- Mia does acquiesce to getting the "Pygmalion" treatment from her grandma (the oh-so-apropos Julie Andrews) during daily visits to the Genovian consulate.
It all began with George Bernard Shaw's Pygmalion, and was softened in The Big Sleep (1946) when Humphrey Bogart, waiting out a rainstorm in a bookstore, turned to Dorothy Malone and asked, "do you really need to wear those glasses?"
My Fair Lady (1964)
Directed by George Cukor
influenced The Princess Diaries (2001), Pretty Woman (1990)
Visuals Plot Characters Themes
(Roberts in the red gown is meant to remind us of the transformed Audrey Hepburn in My Fair Lady.)
Written by newcomer J.F. Lawton, the comedy is a mosaic of "Moonstruck," "Splash," "The Fabulous Baker Boys," "Working Girl," "My Fair Lady" and "An Officer and a Gentleman," among others.
Elizondo plays the My Fair Lady game as solid as I’ve ever seen, and Alexander plays the soulless short asshole as only he can.
A similar theme in My Fair Lady was also acceptable to me.
This is, of course, the same kind of Pygmalion story which launched Andrews herself to fame as Eliza Doolittle in the Broadway production of My Fair Lady all those years ago.
It's also a treat to have Andrews -- the actress who rose to fame playing such protegees as Eliza Doolittle in "My Fair Lady" and "Cinderella" in the Rodgers and Hammerstein musical of the same name -- back on the screen again, brightening up every one of her scenes just by being there.
Crazy Rich Asians (2018)
Directed by Jon M. Chu
influenced by Pretty Woman (1990), The Princess Diaries (2001)
Themes Plot
Like many of its genre mates, from Pretty Woman to Sex and the City to, yeah, even Fifty Shades, Crazy Rich Asians is lifestyle porn, and though it takes a few vague stabs at the nobility of self-enforced poverty, it’s really about Rachel proving herself worthy of joining this rarefied clique, where everyone is beautiful, bachelor parties in international waters are the norm, and glamorous shopping expeditions are but a private helicopter ride away.
On her first trip to Singapore (and Asia, for that matter), Rachel, a brilliant economics professor at NYU, gets treated worse than Julia Roberts did in Pretty Woman.
Director Jon M. Chu deftly weaves the numerous story strands while still finding time to toss in the mandatory visits to the bachelor and bachelorette parties (a hedonistic blowout aboard a cargo ship for him and decadent island spa for her); a swank boutique for the elegant quest for “the dress” straight out of “Pretty Woman”; and to the palatial Young estate for the eventual showdown with the potential mother-in-law who thinks Maleficent an ideal role model.
Most of which comes from the comedic skills of supporting characters like Rachel’s college pal Peik Lin Goh (Awkwafina, who has the standout force of a Melissa McCarthy in Bridesmaids) and one of Nick’s snarky cousins Oliver (Nico Santos, who can spear with just a line or withering glance) who help Rachel navigate this new, high flying world by giving her a makeover (a squeal-worthy moment of fashion akin to Pretty Woman) and boosting her self worth.
Chu and his screenwriters Peter Chiarelli and Adele Lim clearly are sharp observers of what made movies like Pretty Woman work so well onscreen.
Recalling the likes of Pretty Woman, Coming to America and, forgive me for saying this, Fifty Shades of Grey , it’s not like anything that happens will be startling to a single viewer sitting in the audience.
Sin ir más lejos, en un clásico del género como Pretty Woman (Garry Marshall, 1990), un ejecutivo encontraba en una prostituta de vulgares modales un aliciente para su aburrida vida, o, en Cincuenta sombras de Grey, el atormentado millonario Christian comenzaba a arrancar la coraza de su corazón y a saltarse unas (auto)impuestas normas que le prohibían relacionarse con las mujeres de otro modo que no sea a través del sadomasoquismo, una vez que se cruza en su camino la estudiante Anastasia y cae rendido ante su candidez.
A caballo entre Intocable o Bajo la misma estrella y Pretty Woman (con vestido rojo incluido), es una historia de amor entre una joven feliz de clase baja y un chico rico y amargado desde que se quedo?
Decades after “Pretty Woman,” Moyes has doubled-down on a cliche, even as she’s watered down the “sex for hire” come-on.
And, of course, one of them (see “Fifty Shades of Gray,” “Pretty Woman,” et.al.) must be stinking rich so our would-be lovers can coo in the lavish backdrop of private planes, exotic holidays and castles – yes, castles plural.
Enter Lou as Will’s latest caregiver, and here come the plot references to “My Fair Lady,” “Educating Rita,” “The Bucket List,” “Pretty Woman” (Lou even wears a red dress to a musical performance, ala Julia Roberts) and even “Dying Young” (in which Ms. Roberts played a caregiver to a wealthy patient played by Campbell Scott).
To be fair, there of echoes of many other more edifying sources—“An Affair to Remember,” “ Pretty Woman ,” the French import “ The Intouchables ”—that reverberate through this “ Beauty and the Beast ” fantasy as it unfolds in a quaint English village.
What starts out as a modern, realistic version of Pretty Woman (1990), especially compared to something like Ken Russell’s ‘response’ to this narrative, 1991’s Whore, cascades into a manic take on the myth of Psyche and Eros.
Baker's drama is a modern take on Gary Marshall's Pretty Woman, except with more madness, sex appeal, and hilarity than you could ever imagine.
Through a lot of these early scenes, Anora plays like a more honest, more explicit version of Garry Marshall’s iconic ’90s rom-com Pretty Woman. They share most of the same main characters and plot beats: The wealthy out-of-town john, the broke sex worker, the chance encounter, the initial date, the offer of thousands of dollars for one week of companionship — potentially life-changing money for women like Ani or Julia Roberts’ Vivian in Pretty Woman.
What happens in 'Anora'?On the surface, “Anora” is a modern day take on 1990's “Pretty Woman.”
Comparisons to Pretty Woman are inevitable, but there is some truth to it because, like that film, the film functions as a pleasing romance between two people from very different backgrounds, who initially come together (ahem) for a purely transactional relationship until it inevitably becomes something more.
Love Actually (2003)
Directed by Richard Curtis
influenced Mother's Day (2016), Valentine's Day (2010), Pretty Woman (1990)
Plot
From Robert Altman's groundbreaking oeuvre to 2003's cheerful " Love Actually " to 2009's wiser, altogether stronger " He's Just Not That Into You ," tossing big ensembles together to represent some particular microcosm within the world has become a subgenre in and of itself.
But still, in terms of sheer quantity ... well, "Love, Actually" was a lot better.
She not only steals with shameless abandon from Love Actually (set pieces and plot devices alike), but she seems to think that all the prefab sentiment found in Valentine’s Day is surprising and fresh.
Fortunately, like Love Actually , Valentines Day -- from a story and witty screenplay by Katherine Fugate ( Carolina ) -- manages to hold our interest despite skipping around to so many characters.
It’s a sitcom script, with every role given a singular emotional beat; the writing seems more attracted to caricature than realism, which is precisely why the film it’s blatantly ripping off, 2003’s “Love Actually,” was a tonal whirlwind marvel.
Several short stories about love, and expectations of the most romantic day of the year come together in the end in a very "Love, Actually " way.
Fifty Shades of Grey (2015)
Directed by Sam Taylor-Johnson
influenced by Pretty Woman (1990)
Themes Characters Plot
Fifty Shades is best compared to 1990’s Pretty Woman.
Not since Richard Gere in "Pretty Woman" has there been such a fantasy catch for the women in the audience - as well as Ana.
Aside from the BDSM material that doesn't really show its head until fairly well into the film, the story comes off somewhat like a fairly lame version of "Pretty Woman" and a far less interesting look at the world of kinky sex than occurred in "Secretary" (with Maggie Gyllenhaal and James Spader).
A successful male control freak who’s compelled by an emotionally pure woman to open himself up is the basis for thousands of romances and is far less disturbing in its implications than, say, Pretty Woman, that launching pad for American Sweetheart Julia Roberts in which the prince purchases his princess on the open market.
What obviously comes to mind is Pretty Woman, in which Richard Gere’s antisocial businessman decides to make Julia Roberts’s prostitute The One. Fifty Shades of Grey takes 125 minutes to do what that movie did in its first dozen or so scenes.
The way this film works its archetypes is reasonably clever, though I would point out that Pretty Woman worked exactly the same way 24 years and 11 months ago.
The Royal Treatment (2022)
Directed by Rick Jacobson
influenced by The Princess Diaries (2001), Pretty Woman (1990)
Plot Visuals
The Royal Treatment surprises time and time again, avoiding tired tropes like cattiness between women (such a welcome changeup!) and paying homage to flicks like Pretty Woman and other films in its own category like The Princess Diaries and A Christmas Prince .
“Pretty Woman” feels like a distant tonal influence, but also provides inspiration for the finale’s fire-escape setting (which utilizes a pop number sung by lead Marano).
A weird combination of The Princess Diaries (it’s fictional setting even gets a shout out), Pretty Woman and Coming to America , former Grace Under Fire and Sabrina The Teenage Witch writer Holly Hester’s script does feel like any early “Treatment”, rather than a fully formed screenplay.
A weird combination of The Princess Diaries (it’s fictional setting even gets a shout out), Pretty Woman and Coming to America , former Grace Under Fire and Sabrina The Teenage Witch writer Holly Hester’s script does feel like any early “Treatment”, rather than a fully formed screenplay.
Genovia, of course, is the fictional country of “The Princess Diaries,” where Anne Hathaway and Julie Andrews rule.
Much like The Princess Diaries , the royal at the center of this story must undergo a makeover of sorts and realize what’s truly important.
I will give writer Ben Ripley credit for not just slavishly copying Joel Schumacher’s 1990 original, which was not a particularly good movie but became a surprise box office smash because it costarred Julia Roberts and was released in the wake of Pretty Woman.
The original also benefited from the newly minted stardom of Julia Roberts , whose Pretty Woman had recently set the box office afire.
Julia Roberts brought along everybody who had just seen her previous movie, Pretty Woman.
Back in 1990, Flatliners made a bit of a splash (grossing the equivalent of $114 million today) largely due to historical accident: It happened to be audiences’ first opportunity to see Julia Roberts after Pretty Woman made her an instant superstar.
Anyone who�s seen the inferior Pretty Woman, can easily guess where their relationship is headed, but the awareness of class issues grounds this Cinderella story.
Take the main ingredient, the fabulously popular Jennifer Lopez, put her in a shoddy retread of the already shoddy Pretty Woman, and add a cute little boy and a cute older boy and a few cynical stabs at social consciousness.
Like Pretty Woman but without the laughs.
Fortunately, the skillful hand of director Wayne Wang ("Smoke") and smart tailoring to the talents of indomitable star Jennifer Lopez help this housekeeping-service spin on "Pretty Woman" pump a surprising amount of fresh life into the formula.
Unlike say Showgirls, which throws glitter on these stereotypes and asks us not to take anything too seriously, or Pretty Woman, which worked the aspirational princess fairy tale angle, Hustlers tries for a Sex and the City vibe, which might work as a feel-good set-up if not for the whole drugging and deceit thing.
Each woman’s sob story about abuse and resentment brought me back to a 1990 incident: A middle-aged female friend interrupted a group of adolescent girls fawning over Julia Roberts in Pretty Woman .
There’s a long line of movies about strippers and sex workers— Player’s Club , Showgirls , Magic Mike , and Pretty Woman to name a few.
Its time-warped sensibility invokes Pac-Man, Buick station wagons, and REO Speedwagon in subtle homage to The Flamingo Kid and other Eighties-era movies in which teenaged boys experience transformative summers on their way to adulthood.
We’ve certainly seen this comedy before (the movie is incredibly reminiscent of ’80s comedies like “The Flamingo Kid” and “The Sure Thing”) but it’s all about the execution here.
It's an amusing premise, the whole "Pretty Woman"-in-reverse thing: Kat, the addled heroine of "The Wedding Date," has nuptials to attend across the pond, and no beau in sight.
A similar premise charmed with Julia Roberts and Richard Gere in Pretty Woman, the difference being she was the working girl and he was the client.
As a result "The Wedding Date" comes across not unlike a cross between "Pretty Woman" and the afore-referenced "My Best Friend's Wedding" (while managing to avoid the inherent sordidness of the former and the underlying sadness of the latter).
Screenwriter Dana Fox takes a page from "Pretty Woman," but in sexist fashion tips the scales of power to favor the male prostitute.
The Devil Wears Prada (2006)
Directed by David Frankel
influenced by Pretty Woman (1990)
Characters Plot
It’s a great role for Hathaway, reminiscent of memorable breakouts like Julia Roberts in “Pretty Woman” and Melanie Griffith in “Working Girl.”
Yet, more Pretty Woman than Working Girl , The Devil Wears Prada really lives to give its angel a high-class makeover.
Stanley Tucci takes on the role, which normally belongs to Hector Elizondo (“Pretty Woman,” The Princess Diaries”), as Andy’s mentor and muse and makes it his own here.
It is the most movie rom-com set up that’s ever existed, and this is a movie that wears its love for the genre on its sleeve with knowing references to everything from “Pretty Woman” to “Notting Hill.”
The form enjoyed a cultural resurgence starting in 1989 and ’90, with the release of “When Harry Met Sally” and “Pretty Woman.”
In fact, the finished project is more akin to a mixture of Goldie Hawn's 1987 "Overboard" and Shakespeare's "Taming of the Shrew."
Back in the late 80s, Kurt Russell and Goldie Hawn trod similar terrain in "Overboard".
How to Be Single (2016)
Directed by Christian Ditter
influenced by Valentine's Day (2010), New Year's Eve (2011)
They then went on to work on Valentine’s Day (2010), The Vow (2012), and now, How To Be Single, a film also co-produced by Barrymore.
(And on this Valentine’s Day, it’s certainly preferable to his 2010 film “Valentine’s Day.”)
The story, cribbed from Liz Tuccillo’s book, is credited to rom-com writing duo Marc Silverstein & Abby Kohn (The Vow, Valentine’s Day, He’s Just Not That Into You) and Dana Fox (What Happens in Vegas), so it shouldn’t be surprising that the film subscribes to so many clichéd notions of love and lust in the Big City.
No surprise that co-screenwriters Abby Kohn and Marc Silverstein also collaborated on Valentine's Day, Garry Marshall's 2010 movie in which a cavalcade of stars do jazz hands about love (not to be confused with 2011's New Year's Eve, in which a cavalcade of stars do jazz hands about love, but in December).
It is directed by Christian Ditter from a screenplay by a veteran romcom writing crew: Abby Kohn, Mark Silverstein and Dana Fox (whose CVs include Valentine's Day, He's Just Not That Into You and The Wedding Date).
The slot has previously worked for Warner’s Valentine’s Day (which took $110m domestically and $106m internationally in 2010) and He’s Just Not That Into You ($94m at home and $85m elsewhere in 2009), though Single might be limited, in the US at least, by its R rating.
Marshall, one of the great creative minds of Hollywood and the man behind Happy Days and Mork & Mindy back in the day, offers a modern wink at his sister Penny’s A League of Their Own — “There’s no texting in soccer” — and even pays homage to his own work, with Hector Elizondo playing a confidante to Roberts’ character, much like that in Pretty Woman.
Sometimes, Marshall and his writers’ room give up on the hard work of forging their own hacky gags and settle for references to other films from the Marshall dynasty, like a Pretty Woman “salad fork” non sequitur between Roberts and Marshall’s smug mascot Hector Elizondo, or a scene where Sudeikis must wanly refer to A League Of Their Own (directed by Marshall’s sister Penny) by announcing that “There’s no texting in soccer.”