Due to differing contextual influences, Bernard Shaw’s play Pygmalion (1912) and Gary Marshall’s film Pretty Woman (1990) portray unique perspectives on the values of social hierarchy and gender roles. Shaw and Marshall both explore the transformation and social mobility of a young woman in order to comment on the social constructs of class divisions and gender roles within society. In Pygmalion, Shaw satirises the social hierarchy of early 20th century England whilst also criticising the rigid expectations and restrictions placed upon women in a patriarchal society. Marshall’s appropriated text, Pretty Woman, similarly examines both the relationship between wealth and social status, and the role of women in 1980s America. Although the appropriated
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In 1980s America, an acceleration of corporate power and rise in consumerism exacerbated wealth inequalities. Contrastingly to Shaw’s emphasis on elocution and appearance, Marshall reflects his contextual concerns by placing significance upon wealth and financial assets. Vivian’s serious facial expression and tone of voice while saying “I never joke about money”, coupled with the high modality diction of ‘never’ portrays her earnest attitude towards wealth despite her low financial status. Edward’s reply of “Neither do I” implies that both of them inherently recognise the importance of money in their society regardless of their differing levels of wealth. The contrast between Vivian’s behaviour and costuming before and after her transformation resulting in her elevated status alludes to the importance of appearance in determining social class, which mirrors Eliza’s outward transformation in Pygmalion. However, the montage of her shopping spree suggests that appearance is merely a reflection of wealth and thus portrays money as the sole determinant of status, rather than Shaw’s focus on language. Mirroring the division between social classes in Pygmalion, Vivian’s oblivious nature to upper class norms of dining, acceptable behaviour and tipping highlights the ignorance evident …show more content…
Despite the advancement of feminism, Marshall depicts a regressive stance on the role of women, which adheres to female commodification that occurred as a result of consumerism. Whereas women in Pygmalion had limited independence, women in Pretty Woman have increased autonomy. This conveyed through Vivian and Kit’s mantra, “We say who, we say when, we say how much”, in which the anaphoric repetition of ‘we say’ emphasises their desire for control regarding their choices. Vivian’s transformation mirrors that of Eliza’s, where both are empowered to ascend the social ladder but ultimately succumb to the traditional fairytale ending - the romantic relationship. The low angle shot of Vivian planning to “get a job [and] finish high school” demonstrates the power in her newfound determination and independence. However, this is contrasted with her wish for “a knight on a white horse… to climb up on the tower and rescue [her]”, which is shaped by archetypal Hollywood fantasies of the time. The use of cliché illustrates the extensive patriarchy in their society, where women are portrayed as weak and helpless. The traditionally domestic role of women in Pygmalion is appropriated in Vivian’s inclination towards continuing a romantic ‘happily ever after’ resolution with Edward. By rejecting Edward’s proposal, Vivian preserves her
In 1980s America, an acceleration of corporate power and rise in consumerism exacerbated wealth inequalities. Contrastingly to Shaw’s emphasis on elocution and appearance, Marshall reflects his contextual concerns by placing significance upon wealth and financial assets. Vivian’s serious facial expression and tone of voice while saying “I never joke about money”, coupled with the high modality diction of ‘never’ portrays her earnest attitude towards wealth despite her low financial status. Edward’s reply of “Neither do I” implies that both of them inherently recognise the importance of money in their society regardless of their differing levels of wealth. The contrast between Vivian’s behaviour and costuming before and after her transformation resulting in her elevated status alludes to the importance of appearance in determining social class, which mirrors Eliza’s outward transformation in Pygmalion. However, the montage of her shopping spree suggests that appearance is merely a reflection of wealth and thus portrays money as the sole determinant of status, rather than Shaw’s focus on language. Mirroring the division between social classes in Pygmalion, Vivian’s oblivious nature to upper class norms of dining, acceptable behaviour and tipping highlights the ignorance evident …show more content…
Despite the advancement of feminism, Marshall depicts a regressive stance on the role of women, which adheres to female commodification that occurred as a result of consumerism. Whereas women in Pygmalion had limited independence, women in Pretty Woman have increased autonomy. This conveyed through Vivian and Kit’s mantra, “We say who, we say when, we say how much”, in which the anaphoric repetition of ‘we say’ emphasises their desire for control regarding their choices. Vivian’s transformation mirrors that of Eliza’s, where both are empowered to ascend the social ladder but ultimately succumb to the traditional fairytale ending - the romantic relationship. The low angle shot of Vivian planning to “get a job [and] finish high school” demonstrates the power in her newfound determination and independence. However, this is contrasted with her wish for “a knight on a white horse… to climb up on the tower and rescue [her]”, which is shaped by archetypal Hollywood fantasies of the time. The use of cliché illustrates the extensive patriarchy in their society, where women are portrayed as weak and helpless. The traditionally domestic role of women in Pygmalion is appropriated in Vivian’s inclination towards continuing a romantic ‘happily ever after’ resolution with Edward. By rejecting Edward’s proposal, Vivian preserves her