The Forbidden Scenes From “Pretty Woman” No One Was Supposed To Talk About
In 1990, “Pretty Woman” captured hearts worldwide as the ultimate Cinderella story—a wealthy businessman falling for a spirited prostitute.
Directed by Gary Marshall and starring Richard Gere and Julia Roberts, the film dazzled audiences with its charm and romance.
But behind the scenes, the making of “Pretty Woman” was filled with secrets, chaos, and moments the studio desperately tried to hide.

One of the most carefree scenes—the bathtub sequence where Julia Roberts sings Prince’s “Kiss”—was actually a nightmare for the actress.
To create perfect bubbles, the crew used industrial detergent meant for washing cars.
Hours under hot studio lights caused Roberts’s skin to burn and stripped the red dye from her hair, forcing a production halt to fix the damage.
Adding to the chaos, the crew once pulled a prank by leaving Roberts alone underwater during filming, capturing her genuine shock and laughter on camera.
The film’s original script, titled “$3,000,” was a stark, unromantic tale about a week-long transaction between a corporate raider and a sex worker.

It portrayed a grim reality with no happy ending.
Disney’s intervention transformed the story into the glossy romantic comedy we know today, softening characters and crafting a fairy tale ending where love conquers all.
Julia Roberts almost lost her role as the studio sought a more glamorous, less intense actress.
Names like Meg Ryan and Michelle Pfeiffer were considered replacements.
Director Gary Marshall fought to keep Roberts, believing her raw vulnerability was the film’s heartbeat.

Despite nerves so severe she developed hives and trembling hands, Roberts’s authenticity became the soul of the movie.
One of the film’s most famous moments—the playful scene where Richard Gere snaps the necklace box shut on Roberts’s fingers—was unscripted.
Gere’s spontaneous action elicited genuine surprise and laughter from Roberts, creating an unforgettable cinematic moment.
The necklace itself was real and worth over $250,000, guarded closely during filming.
Richard Gere initially dismissed the film as fluff but was won over by Roberts’s charm during a meeting orchestrated by Marshall.

Gere even improvised the piano music in the hotel scene, adding personal depth to his character.
Yet Gere later expressed discomfort with the film’s glorification of wealth and power, calling it a beautiful fantasy.
A tense fight scene between Gere and Jason Alexander was improvised to capture raw emotion, resulting in Gere accidentally knocking Alexander’s dental crown loose.
The incident became part of the final cut, adding authenticity to the characters’ conflict.
Filming was fraught with danger and improvisation.

Roberts barely knew how to drive, leading to risky takes on Hollywood Boulevard.
Many scenes were shot guerrilla-style without permits, with crews fleeing police and crowds.
Despite this, the film’s energy and spontaneity propelled it to success.
Several darker, raw scenes were cut from the final film, including depictions of Viven’s addiction and a bleak ending where Edward leaves without love.
Test audiences rejected these versions, demanding a happier conclusion.

Director Marshall famously rewrote the ending overnight, creating the iconic balcony rescue that defines the film.
Even the famous movie poster was a crafted illusion, using a body double’s legs with Roberts’s face digitally added.
The iconic red dress was almost black, but the costume designer fought to keep the bold color that symbolized Viven’s transformation and empowerment.
To capture Roberts’s genuine laugh, Marshall used tickling and playful tricks off-camera, turning nervousness into infectious charm.
Behind the polished final product lay a young actress battling anxiety and a director nurturing her confidence.
“Pretty Woman” became a global phenomenon, grossing nearly half a billion dollars and redefining romantic comedies.
But behind the smiles and fairy tale moments lies a hidden story of risk, resilience, and creative magic that few fans ever knew.
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