Niña bonita

I really liked this film for what it is. I also think that it is undoubtedly the most eye-opening film I ever saw in terms of the reality of the daily life of some people. Violet grew up in this house full of prostitutes, without a childhood, never knowing how to behave as a child. She grew up knowing how to behave in order to promote business in their 'house'. The deflowering ritual that Violet had to undergo would have scared me senseless, and it is pitifully sad to think that she looked forward to it, only because then the other women in the house would really take her seriously. The fact of the matter is, this is a true story and people should watch it, even if only to realise how grateful we should be for not living in times like that, for growing up in times where we are actually given a choice.

Louis Malle did an amazing job of portraying the Storyville life (red light district), and the lives of the women caught up in it. He gets the finest work out of his cast, and demonstrates what it makes him a master filmmaker: not someone who just makes movies to impress other directors, but someone who touches an audience.

He begins and ends the film with the camera slowly closing in on the wide eyes of its child-lead, making you wonder how her life will proceed, having seen what she's seen. It makes you wonder whether marriage, in those times, was any different for a woman than prostitution. Mostly, you have to wonder how Violet could adapt to normal life, with the strange perspective she's had on it so far.

The petulance and "spoiled"ness described in the review below, are merely her childishness, to illustrate that she is an ordinary child in bizarre circumstances. For those not carried away by Shields' appearance, this made the film very poignant -- this child doesn't even know that there is any other way to live.

And the viewer can put away concerns for Shields herself: the nude scenes were done by a body-double, despite what is listed in the "trivia" section of this listing. (I know someone who later worked with the body double.)

A beautifully filmed movie which tells a difficult story with a subtlety and power that leaves you thinking about it during odd moments for days. It's that much more disconcerting because all the while you're keenly aware that this isn't based on "a true story" but on millions of true stories throughout history, including today, and in every part of the globe.

Due to my age I'd never seen 'Pretty Baby' in the theater or, for some reason, read much about it. I was aware of the basic plot but didn't know I'd be seeing quite so much of a naked 12 year-old Brooke Shields. A couple of moments were honestly difficult for me to watch, but I've come to the conclusion that the nudity is absolutely essential to the telling of the story. You *have* to be forced to see exactly what those men were paying for.

The brilliance of director Loius Malle's film is that he constantly subverts the audience's desire to be aghast at what we see. The camera finds happy little moments throughout the movie, your mind is left to fill in the ugly realities. This trend continues to the end, which is like a cruel mirror image of the typical happily ever after Hollywood ending.

At the time of its release, PRETTY BABY attracted a lot of controversy for its subject matter and matter-of-fact nudity of pre-teen Brook Shields (Violet).

Now it would probably not get made at all -- which is a shame, because it's a solidly written and directed drama.

The late Louis Malle, who also directed the amazing BLACK MOON, approaches the subject of child prostitution without judgement or moralizing.

The film's effectiveness comes from a script that does not burden any of its characters with explanatory dialog. Most of the dialog heard is of the incidental kind. Characters do not pause to explain situations or pontificate. Malle captures glances, body language, reflections and uses the non-verbal to tell his very human story of a New Orleans cathouse.

Susan Sarandon, as Violet's prostitute mother, turns in a fine performance as a woman in denial of her reality. Keith Carradine, who plays a photographer who falls in love with Violet, delivers a perfectly tuned performance with little more than than a dozen lines of dialogue. Also worth nothing is the beautiful performance of Francis Faye as Nell, the cathouse madam. She brings a sharp gift for irony to her role.

Brooke is very, very good, too, and this was the performance of her career.

"Pretty Baby" (1978): Usually, when a controversial film comes out, the hubbub dies off in a few weeks. Later, people wonder why anyone got upset at all. In this case, I think the opposite is the case. There WAS some buzz about "Pretty Baby" when it premiered in 1978, but NOW? People would be killing the director, photographer, and screen writers in the names of Decency & Righteousness. It's a crazy world. Photographed by Sven Nykvist (Ingmar Bergman's photographer), Louis Malle directed this Polly Platt screenplay about the real life New Orleans documentary photographer E.J. Bellocq. He spent much of his career photographing those no one else would – the prostitutes of N.O. - and eventually became involved with a young girl (Brooke Shields) raised by her prostitute single mother (Susan Sarandon), to be a prostitute herself. There's an interesting push/pull to this film. It is SO beautifully photographed, and the prostitutes shown SO human, there is much warmth in the scenes, yet the facts remain difficult to accept – life was what it was, and they did what they had to do to survive in the turn-of-the-century South. This is NOT a story of tragedy (except in personal terms that have nothing to do with the profession). Most everyone went about their days in matter-of-fact acceptance of their "station" in life, and did not get ulcers. They had a roof, decent money, good food, servants, and a place to raise their "accident" children. "Pretty Baby" asks you to step outside your contemporary world and standards, and try, just for two hours, to see another point of view. It's an interesting challenge…perhaps more now than even a mere 30 years ago.