La petite

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.)

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.

Set during the final weeks of legal prostitution in Storyville, New Orleans, the whorehouse ran by the ageing Madame Nell (Frances Faye) is quietly coming to an end. This is unknown to the employees, who are going about their work and earning their money. Ernest Bellocq (Keith Carradine), a real-life photographer who took the famous Storyville prostitute portraits, arrives and takes an special interest in the beautiful Hattie (Susan Sarandon), and her 12-year old daughter Violet (Brooke Shields). Violet is a confident, bratty and adventurous girl who is groomed to be the star attraction at the brothel by Hattie and Madame Nell. As the men queue up for Violet, Bellocq also becomes enamoured with her, and the two start a strange love affair.

For such a monstrously ugly subject, Pretty Baby is a strikingly beautiful film. The idea of child prostitution is repulsive but was a very real thing back in the 1917-era (and obviously still exists today under a much more secretive veil). It takes a very brave director to even consider tackling such a subject, and then to do it with such elegance, truth and respect. The both cosy and dank whorehouse pulses with life and realism, to the point where it feels like the film was actually filmed in the time. Minor details such as the peeling paint on the window ledges and the layers of dust on the bookshelves adds an authenticity rarely seen.

The film was extremely controversial in its day (and would still be if it was released today) for its full-frontal nudity of a 12-year old Brooke Shields. It is undoubtedly uncomfortable to watch at times, but as hard as it is to say, it is necessary to truly see who she is, and what the men want her for, which makes the whole thing even more horrific and wrong. The scene where she is carried into a room and flaunted as a virgin to rich, cigar-smoking older men who start a bidding war to take her virginity, left me cold. It is a truly powerful scene, and when we later see her naked in her youth, all fragile and undeveloped, it almost made me sick.

Shields, who is clearly not the most talented actress in the world, is genuinely brilliant here. Full of natural beauty and swaggering maturity, her character is a complex mixture of the naive, the immature, and the wise-beyond-her-years. She seems more than ready, and eager to start work, and has the natural ability to wrap a man around her little finger. Years growing up in a brothel has seemingly left her unable to feel. And when she begins her relationship with Bellocq, it is unclear if she truly loves him, or she is simply acting to get the life she desires. If you can stomach the taboo subject matter, this is a fascinating film, rich with great acting, complex characters and a smart script, handled with an individuality and grace by the great Louis Malle.

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I think it was a fine piece of film making about a horrific situation. I agree with a previous poster that its understated tone was one of its strengths. The film maker presents a detailed, rounded view of the lifestyle and its effects on a girl who is much too young and much too pretty to have been allowed to ply her trade.

One of the ways I judge the strength of a film is the extent to which I wonder "what happens next?" after the closing credits. I would say the film succeeded. From the expression on Violet's face in the closing shot, I think she had been so warped by everything she had seen and done that, no matter what, she would never be able to become a normal woman living a normal life. My fear is that whether she went back to prostitution or lived a presumptively respectable life, she would always be ignorant, impulsive, self-centered and someone who used her appearance to manipulate others. After all, she, like everyone else in the world, can only know what she has been taught.