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Pretty Woman is a 1990 American romantic comedy film directed by Garry Marshall, from a screenplay by J. F. Lawton. The film stars Richard Gere and Julia Roberts , and features Héctor Elizondo , Ralph Bellamy (in his final performance), Laura San Giacomo , and Jason Alexander in supporting roles. [ 1 ]
In addition to Roberts sole Oscar nomination for the film, Pretty Woman opened at number one at the box office and remained in the position for four non-consecutive weeks. It has since earned over ...
The PW montage is overlaid with the movie’s title song, which lends a playful sensuality to the events, as the scenes cut back and forth between various environments and outfits.
Jason Alexander doubts a Pretty Woman sequel will happen — because, well, technically, it already did. “They talked about it for a while. If you ask the inner circle of the people who made it ...
Skin color contrast has been identified as a feminine beauty standard observed across multiple cultures. [7] Women tend to have darker eyes and lips than men, especially relative to the rest of their facial features, and this attribute has been associated with female attractiveness and femininity, [7] yet it also decreases male attractiveness according to one study. [8]
In Chinese, the phrase "lucent irises, lustrous teeth" (Chinese: 明 眸 皓 齒) is used to describe a beautiful woman with "clear eyes" and "well-aligned, white teeth", [219] and the phrase "moth-feeler eyebrows" (Chinese: 蛾眉) is used to denote a beautiful woman by describing her eyebrows as being thin and arched like moth antennae. [219]
American Beauty is a 1999 American psychological dark comedy-drama film written by Alan Ball and directed by Sam Mendes in his feature directorial debut. Kevin Spacey stars as Lester Burnham, an advertising executive who has a midlife crisis when he becomes infatuated with his teenage daughter's best friend, played by Mena Suvari.
The social pairing of the passive object (woman) and the active viewer (man) is a functional basis of patriarchy, i.e., gender roles that are culturally reinforced in and by the aesthetics (textual, visual, symbolic) of the mainstream, commercial cinema; the movies of which feature the male gaze as more important than the female gaze, an ...