Pretty Woman

Orientation of Vivian's walkman as she's having a bath.

Edward's tie, collar, zipper, shoes, and socks when Vivian is undressing him.

Edward's briefcase when talking to the concierge.

Vivian's head after the piano scene.

Philip Stuckey loses his watch when he attacks Vivian, but has it back soon after.

Supposedly flying north from Los Angeles to San Francisco, the plane is shown with the sun setting off the starboard wing.

The clothes Vivian is holding at the lift when leaving Edward.

When Vivian is offering Edward a choice of condoms, she is holding four colored condoms (other than the gold circle condom).

In one shot, Vivian in holding the condoms in a certain order.

In the next shot, they are in a different order and then in the third shot, they are back in the same order as in the first shot.

The pancake Vivian is eating was, for most of the scene, a croissant.

Director 'Garry Marshall' (qv) said he liked the performance she gave in the latter part of the scene better, so the croissant magically becomes a pancake, which she began to eat as they did more takes.

While this may be the case, there is still a continuity issue.

In the first scene with the pancake, she takes a second bite.

In the next scene with the pancake in her hand, there is only one bite missing.

Not only that, but the the pancake with one bite missing has a different bite pattern and is clearly a different pancake.

The sorbets in the silver dishes disappear and reappear during dinner.

Edward's limo turns from a Cadillac into a Lincoln after he buys flowers at the end of the movie because he changed to a white limo to fulfill her fantasy.

As Vivian walks into the hotel after her shopping spree, her purse switches from under one arm to under the other.

When Edward is in his office, a crewmember with a reflector board is reflected in the window.

Edward unfolds the same letter twice.

When she's in the bathtub sing "Kiss", Vivian sings the same line twice.

During the polo match Edward is shown wearing a straight-collar and the tie that Vivian gave to him as a gift, tied with a half-windsor.

A later shot shows Edward with a spread-collar and that same tie, but with a full-windsor knot.

As the scene progresses, the shot of Edward alternates back and forth between the straight and spread-collar (even with a shot of the spread-collar with a half-windsor knot).

Vivian has Band-Aids on her toes at the polo game, but not when she removes her shoes again at the hotel.

Edward is wearing a vest when they leave the hotel, then in the limo on the way to the Blue Banana, the vest is gone, and then when he confronts the thugs in the alley, he's wearing it again ('Garry Marshall' (qv) said it kept bunching up in the limo scene, so he took it out).

Tire tracks from the camera vehicle can be seen in the grass in the brief shot of polo players moving toward the camera.

When Edward asks Vivian if she will work for him for the week, she has only been out of the bath for a few minutes at most but her feet are already very dirty.

In the beginning when Edward is talking to Jessica on the phone, you can see a reflection in the glass of a crew member to the right of Edward.

Edwards points in one direction when telling that the champagne should be placed at the bar.

But the bar is in the opposite direction.

In the last scene when he "rescues" her on the fire escape, camera shots from her window show the ground as being dry even though it has been raining.

Shots from the ground looking up at the fire escape show the ground as wet.

When Vivian and Edward are in the penthouse and Edwards gives Vivian $100, she puts the money down in her boot.

After the champagne is delivered to the hotel suite she takes off her boots and the money is nowhere to be seen.

When Edward is sitting on the chair and Vivian on the stool she says to his answer 'business or pleasure' 'then that must make you a lawyer' if you look out of the patio doors it looks like they are on the ground floor as you can see hedges outside the door.

When Vivian and Edward first enter the penthouse suite the curtains onto the balcony are pale the next morning at breakfast they are blue.

At the very beginning of the film, Vivian's right hand can be seen using a black Magic Marker to color in the scuff marks on her boots, however both Vivian and 'Julia Roberts (I)' (qv) are left-handed, as can be seen at the end of the film when Vivian is writing in a notepad when Phil arrives.

When Edward drives up to Vivian's apartment at the end, she quickly pulls the ponytail holder off her hair and messes it up with her hand.

But in the next shot, she is standing smiling and her hair is perfectly neat.

When Philip Stuckey tells Vivian that "this is not a home, this is a hotel room and you're not the little woman," the champagne glass Stuckey holds goes from his right hand to his left hand in between shots as he sits on the couch next to Vivian.

When Vivian finds Edward sleeping, she has a long white nightgown on when she comes in the room.

She kisses him and they begin to make love.

When Edward pulls her nightgown over her head, it is now a camisole.

When Vivian is being shown table etiquette by Barney, the Hotel manager.

The camera pulls back as if it's on the end of a long boom rather than a dolly.

You can tell it's a long boom because of all the up and down shaking which gets worse and worse.

The final line of the opera La Traviata is missing - Violeta's doctor sings that she is dead (E' spenta).

What Aleksander just said is ridiculous. Aleksander's talking about drug prostitution or extreme poverty prostitution.

Julia and Richard Gere are so perfect in this film together. The chemistry is amazing and it's one of those movies that I can watch each yesr (preferably around Christmas time) and laugh and cry.

When this came out I was 7 yrs old so I saw it a few years later.For a Rom Com.

"Pretty Woman" is a love letter to all people out there who seek their "fairy tale". Just like Vivian (Roberts), everyone has his/her love story that reminds a bit of Cinderella.

If there was ever a movie that deserved an Academy Award for casting, this is it. Every role is impeccably filled, from Richard Gere and Julia Robers in the leads, all the way to Abdul Salaam El Razzac as the Happy Man ("Welcome to Hollywood, what's your dream?

This is from Roy Orbinson 1964's hit song that reached its cinematic posterity 26 years later, with Garry Marshall's film of the same name. Oddly enough, when taken in the context of the film, the lyrics take a totally different significance since the titular 'pretty woman' doesn't quite walk on the streets for pleasure.

Calling this movie a romance is pretty much a disgrace. Let's not forget something.

I decided to see this film since many people were comparing this to "Ghost". Let's be reasonable, Ghost is a classic about eternal love which I liked much more than this one.

This film has always been a family favourite in our household, and being one when it was first released, I ended up growing up on this film, and I can safely say, 16 years later, I still love it.I don't know anyone who can say that the bankers were not adorable, but Roberts really shined.