Pretty Baby | |
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File:Pretty baby poster.jpg Theatrical release poster |
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Directed by | Louis Malle |
Produced by | Louis Malle Polly Platt (associate) |
Written by | Polly Platt (story) Louis Malle (story) Polly Platt (screenplay) |
Starring | Brooke Shields Keith Carradine Susan Sarandon |
Music by | Ferdinand Morton |
Cinematography | Sven Nykvist |
Editing by | Suzanne Fenn |
Distributed by | Paramount Pictures |
Release date(s) | April 5, 1978 |
Running time | 109 minutes |
Country | United States |
Language | English |
Box office | $5,786,368 |
Pretty Baby is a 1978 historical fiction drama film directed by Louis Malle. The screenplay was written by Polly Platt. The title is inspired by the Tony Jackson song, "Pretty Baby", which is used in the soundtrack. Although the film was mostly praised by critics, it was quite controversial at the time, especially for its scenes of the nude pre-teen Brooke Shields.
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The film is set in 1917, during the last months of legal prostitution in Storyville, the red-light district of New Orleans, Louisiana. Hattie, a prostitute working at an elegant brothel run by the elderly, cocaine-sniffing Madame Nell, has a 12-year-old daughter, Violet, who also lives at the house. Hattie has also just given birth to a baby boy. When photographer Ernest J. Bellocq comes by with his camera, Hattie and Violet are the only ones awake. He asks to be allowed to take photographs of the women. Madame Nell only agrees after he offers to pay.
Bellocq becomes a fixture in the brothel, taking many photographs of the prostitutes, mostly of Hattie. His activities fascinate Violet, though she believes he is falling in love with her mother, which makes her jealous. Violet is also a restless child, and frustrated by the long, precise process Bellocq must go through to pose and take his pictures.
Nell decides that Violet is old enough for her virginity to be auctioned off. After a bidding war between regulars, Violet is bought by an apparently quiet customer, but this first sexual experience is unpleasant. Hattie, meanwhile, aspires to escape prostitution. She marries one of her customers and goes to St. Louis without her daughter, whom her husband believes to be her sister. Hattie promises to return for Violet once she’s settled and broken the news to her new spouse.
Violet runs away from the brothel in a fit of temper after being punished for some hijinks, showing up on Belloqc’s doorstep. The two become lovers, although Violet still needs a great deal of attention and is frustrated by Belloqc’s devotion to his work. For his part, the (perhaps asexual) older man is entranced by Violet’s beauty, youth, and photogenic face.
Violet eventually returns to Nell’s after quarrelling with Belloqc, but social reform groups are forcing the brothels of Storyville to close. Bellocq arrives to wed Violet, ostensibly to protect her from the larger world.
Immediately following the wedding,. Hattie and her husband arrive from St. Louis. They claim that Violet’s marriage is illegal without their consent and plan to take her back with them. Violet would like her husband to come with her, but he lets her go, realizing a more conventional life, and schooling, will benefit her more.
ABC Records released a soundtrack of the film's ragtime score, which was nominated for an Academy Award for Original Music Score in the "Adaptation Score" category.
Pretty Baby earned $5.8 million in the United States.[2]
The film received mostly positive reviews from critics. Review aggregator Rotten Tomatoes reports that 79% of 14 critics have given the film a positive review, with a rating average of 6.9 out of 10.[3] While many reviewers praised the film's dreamy evocation of 1917 brothel life — and the performances of Sarandon, Shields, and Carradine — some found the slow pacing and languid acting a dull viewing experience.
Understandably, the issues of prostitution and child pornography were not far from critics' thoughts. In his review, The New York Times' Vincent Canby wrote "... Mr. Malle, the French director ... has made some controversial films in his time but none, I suspect, that is likely to upset convention quite as much as this one — and mostly for the wrong reasons. Though the setting is a whorehouse, and the lens through which we see everything is Violet, who ... herself becomes one of Nell's chief attractions, Pretty Baby is neither about child prostitution nor is it pornographic." Canby ended his review with the claim that Pretty Baby is "... the most imaginative, most intelligent, and most original film of the year to date.."[4]
Similarly, Chicago Sun-Times critic Roger Ebert discussed how "... Pretty Baby has been attacked in some quarters as child porn. It's not. It's an evocation of a time and a place and a sad chapter of Americana."[5] He also praised Shields' performance, writing that she "... really creates a character here; her subtlety and depth are astonishing."[5]
On the other hand, Variety's wrote that "the film is handsome, the players nearly all effective, but the story highlights are confined within a narrow range of ho-hum dramatization."[6] And Asheville, North Carolina, Mountain Xpress critic Ken Hanke, looking at the film from the perspective of 2003, said of Pretty Baby: "It was once shocking and dull. Now it's just dull."[3]
The film won the Technical Grand Prize at the 1978 Cannes Film Festival.[7]
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"Pretty Baby...." is an episode of the British television soap opera EastEnders, broadcast on BBC One on 31 January 2008. It is the only EastEnders episode to feature just one character and the first of its kind in soap. It was written by Tony Jordan, directed by Clive Arnold and produced by Diederick Santer. The episode features Dot Branning, played by June Brown, recording a message for her husband Jim (John Bardon), who is in hospital recovering from a stroke, reflecting Bardon's real-life stroke, which saw him written out of the show and allowed the opportunity for the single-hander to arise. Jordan's scripting was inspired by Samuel Beckett's Krapp's Last Tape.
The episode was watched by 8.86 million viewers and received mixed reviews from critics. Brown's acting attracted praise, with both Nancy Banks-Smith of The Guardian and Mark Wright of The Stage doubting that any other actress would have been capable of carrying Dot's monologue. Banks-Smith and The Times's Tim Teeman questioned Dot's characterisation, and Teeman ultimately found the episode "much-loved character overkill", while Gerard O'Donovan of The Daily Telegraph called Brown's performance "mesmerising" but said the episode was "fuss over nothing". Brown received a British Academy Television Award nomination for Best Actress in 2009 for her performance in the episode.
Pretty Baby may refer to:
Sly and Robbie are a prolific Jamaican rhythm section and production duo, associated primarily with the reggae and dub genres. Drummer Sly Dunbar and bassist Robbie Shakespeare teamed up in the mid-1970s after establishing themselves separately in Jamaica as professional musicians. Sly and Robbie are estimated to have played on or produced 200,000 recordings, many of them on their own label, Taxi Records.
Sly Dunbar, then drumming for Skin Flesh and Bones, and Robbie Shakespeare, playing bass and guitar with the Aggrovators, discovered they had the same ideas about music in general (both are huge fans of Motown, Stax Records, the Philly Sound, and country music, in addition to Jamaican legendary labels Studio One and Treasure Isle), and reggae production in particular. They first worked together with The Revolutionaries for the newly created Channel One studio and label, operated by the Hoo Kim brothers.
According to The Independent, their breakthrough album was The Mighty Diamonds' 1976 release Right Time, which helped to establish them as the "masters of groove and propulsion." The drum beat on the title song was particularly tricky; in 2001 Dunbar recalled, "When that tune first come out, because of that double tap on the rim nobody believe it was me on the drums, they thought it was some sort of sound effect we was using. Then when it go to number 1 and stay there, everybody started trying for that style and it soon become establish."
[ CHORUS ]
KRS, Latifah, don't forget
Mash up any male or female artist on the set
Mi comin with mi style, mi take your title and your
The BDP Posse and Flavor Unit in effect
[ VERSE 1 ]
It's Queen Latifah with the R.E. Posse, Flavor Unit
sound
Broken down by the Boogie Down (Productions)
Slip and slide to a Sly & Robbie instrumental
And also as an indicental
The music to which vocals you know I have done
Produced by (KRS-One)
One tribe, one guide, and one destiny
You want the best of me?
Death to those who testin me
Cause to test is to try to conquer
But me, I catch em (1-2-3) and do an encore
Get paid by music, no money to the mob
Cause I'm the woman for the job
[ CHORUS ]
[ KRS-One: ]
Flavor Unit - assemble!
BDP Crew - assemble!
Sly & Robbie - wheel up!
[ VERSE 2 ]
Once again, it's time for Queen Latifah to return
Because to live is to learn
I learn a lotta suckers out there thought we slept
Now they give us (nuff respect!)
I'ma get loose inside this queendom
Suckers tried to duck, it didn't work, cause I seen
them
I'm not out to shoot anybody out the box, but it's my
scene
(I know just what you mean)
Woman called Latifah is a wise one
There are no others like me, I'm a prized one
Although they try to measure up, I outsize them slobs
Cause I'm the woman for the job
[ CHORUS ]
[ VERSE 3 ]
Intelligence captivates your mind
While the sound of my voice detains and occupies your
ears
The thought and the message speak clearly through the
vocals
Your heart is breathtaken, and it's bringin you to
tears
The t-i-p (tip) That is what you are on the m-u-s-i-c
(Music) That is what you want to own, but you could
never be
The one to take my off the throne
Your mind's like a child's, my dear, and I am grown
So just forget it, cause while you wanna do it, I did
Also admit it, if you can hit it, you're with it
Show me your chest, you musta flown over a coockoo's
nest
No buts about it, my life you wanna out it? I doubt it
Suckers don't play me, cause suckers I do vamp
Last time you challenged me, you cancelled due to
cramps
Allegedly, really you weren't readily
Able to rock a rhyme so smooth, so steadily
But next time you better be
Cause these appointments ain't for nothin
They're only for coolin, crushin, and solo-bumrushin
KRS-One's creatin music like an Einstein
Rollin up the rhythm to keep the pace of my rhyme
Me chosen by super musicians, Sly and Rob
Cause I'm the woman for the job