La petite

"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.

It's 1917 Storyville, New Orleans. Illiterate willful twelve year old Violet (Brooke Shields)'s mother Hattie (Susan Sarandon) gives birth to a boy. They work in a high class brothel run by drug addict Nell. Ernest J. Bellocq (Keith Carradine) pays to take up residence photographing mostly Hattie. Nell puts Violet's virginity up for auction to her customers. Violet is eager to join the business but the actual act is painful. Violet starts to work as a prostitute. Hattie marries a customer and moves to St. Louis without Violet. After getting a corporal punishment, Violet runs away and moves in with Bellocq starting a sexual relationship.

Violet's gleeful willing participation in her own degradation is compelling and infuriating. The most engaging scene is the auction. It is creepy with these entranced old men. That scene should be the climax. The movie cannot get any more creepy although it does try. Bellocq is all too quick to sleep with Violet. The movie meanders in the second half. It's all very sad. Brooke Shields is exceedingly young and the movie fits the definition of child porn. There is definitely some artistic merits but I don't know if it justifies pushing open the envelop.

How sad this movie was, for all of the characters involved. I thought Brooke Shields was excellent as a pre-pubescent nymphette, as Nabakov would say. And I think her acting verged on the almost absurd because she was caught somewhere between childhood and adulthood. Poor Violet, caught tragically between two worlds. But this film and its nudity, were far from disturbing. Louis Malle made the whole piece a sort of decadent, decaying artwork, which is exactly what New Orleans is. You can almost smell and touch the oak trees and plants that are overtaking Bellocq's house. I think that the key to this film is that one must watch it objectively instead of subjectively. The movie is a reflection of the Storyville era of New Orleans. If Malle had covered Shields, it would have been like Michelangelo being forced to cover his Sybils in the chapel; Something beautiful and poignant would have been lost. Watch this movie for a glimpse into the past of New Orleans, but don't forget to read the back of the box before you rent. It IS about prostitution.

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.)