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This is one reason the film screens out real poverty and suffering: they might cry out for immediate action and make a mockery of self-involved romance. I receive distinguished men in a pleasant setting, with a lot of discretion.

Like a Nazi strategist, he conquers and sacrifices workers. Given a slight twist in perspective, Pretty Woman could be shockingly sinister, with the avuncular hotel manager Barney playing Stern's role, invisibly sponsoring a "dirty," despised streetwalker in order to save her from ending up in a dumpster like Jewish corpses dumped into mass graves.

What protects us from stumbling into this Prostitutes Milledgeville of horror are the invisible barriers of dissociation that implicitly Prostitutes Milledgeville post-traumatic syndrome in the screenplay, in American culture, and of course in ourselves.

With Barney's support, Viv herself operates as Schindler does. She restores Edward's ability to feel through her capacity for playfulness and camaraderie. On their first evening together she sprawls before the television set chortling at an "I Love Lucy" rerun in which Lucy treads wine grapes in a vat. The TV farce is purgative in the spirit of lower class carnival.

Lucy gawkily dramatizes a process of getting used to being at home in the absurd human body, literally making wine, the celebratory elixir of Prostitutes Milledgeville and desire that served Schindler and the endangered Jews so well.

The TV show is the Hollywood of wine, women, and song, the Hollywood of Prostitutes Milledgeville servants' showbiz in the Prince's palace, and Viv ingenuously uses it to soften up Edward. At the same time, as in the Victorian scheme Freud outlined in Prostitutes Milledgeville Most Prevalent Form of Degradation in Prostitutes Milledgeville Life," Viv can reach Edward exactly because she is a hooker--an outcast, not Prostitutes Milledgeville a real woman--so she doesn't threaten him.

As a whore redefined as a contractual employee, Vivian can be commanded. By contrast, women in elite society compete like cutthroat executives to win the marriageable, affluent Edward as a prize. Edward himself is jealous of rivals for Viv, and with his lawyer Philip Stuckey envying him, he has good reason for anxiety. But then, competition and envy are fundamental markers of value in the culture of the film.

Viv is transformed not by altering her Prostitutes Milledgeville but by learning the theatrical mysteries of class: fashion, manners "Stop fidgeting"and that litmus test for sublime emotion, opera. In effect, she learns a semiotic code of caste and command.

Viv Prostitutes Milledgeville through a Darwinian social milieu--one front in the "sex war"--epitomized in the physically abusive Philip Stuckey. Not only is the lawyer's Prostitutes Milledgeville rape of her emblematic of the predatory violence lurking everywhere in the film's America, it also recapitulates for us and for Prostitutes Milledgeville the cause of Edward's post-traumatic symptoms: his father's cruelty.

In the judgment of the honorable, fatherly Mr. Morse, whose shipbuilding company Edward covets, "everybody" thought Edward's father was "a bastard.

Edward 's mother, we learn, was a piano teacher, the source of his artistic tastes, his love of opera and Prostitutes Milledgeville at the piano. Like Viv, she was a poor nobody, but she married the wealthy businessman Carter Lewis, only to be Prostitutes Milledgeville cast off by him.

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Stung by her premature Prostitutes Milledgeville, Edward has made his career Prostitutes Milledgeville obsessive struggle to undo this family violence by retaliation. In one of his earliest corporate raids he bought his father' business out from under him some fifteen years ago.

Yet even though he defeated his father, Edward is still in the grip of childhood injury.

The old man's recent death and Viv's openness allow Edward Prostitutes Milledgeville begin to accept his past. When Edward declines to close in for his current corporate kill--when Mr. Morse's "jugular is exposed"--his change of heart reflects his internalization of Viv's tacit Prostitutes Milledgeville of business as rape.

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His compassion attempts to undo the past by bonding with a heroic father-figure. Morse's grandson, "made this country. He wants to build things and foster solidarity, not buy cheap and liquidate. To be sure, Mr Morse and his history are idealized. But the screenplay is perfectly cogent about the Prostitutes Milledgeville that Edward Lewises have done to working people.

And this is why, when Edward finally agrees to Prostitutes Milledgeville Mr. Morse save his company, the film makes the old man a surrogate father whose grateful praise--"I'm proud of you"--presumably reconstitutes the prosthetic parental voice absent or turned vicious in Edward's childhood.

In the Nazi economy Prostitutes Milledgeville would be one of Schindler's Jewish beauties, serving a masterful employer Prostitutes Milledgeville saves her from social death. Sexuality buys her life. In the traumatic economy she functions largely Prostitutes Milledgeville a surrogate mother to Edward. In their first encounter Viv strokes and coddles him, undressing him and giving him pleasure, Prostitutes Milledgeville orally, while he enjoys her with an admiring, passive, even infantile gaze.

The Wall Street Prostitutes Milledgeville relishes not sexual conquest but maternal nursing that allays death-anxiety. Later he unburdens his traumatic childhood to Viv as she bathes him in the tub and encircles him with her arms and legs--which is, she teases, a lot cheaper therapy than his shrink provided.

You need not make a Freudian leap to associate this moment with the ecstasy of the womb and early infancy. Later that night she finds him downstairs in the hotel's deserted ballroom. Unburdened now, he is playing piano--his mother's metier--and he makes love to Viv atop the piano, her feet delicately "playing" a few comic, aleatory notes on the keyboard. As a mother-figure, she fulfills a long-denied desire to nurse, merging sex and infancy. The love-making can be seen as magically undoing his mother's traumatic death as well as sublimating an Oedipal wish.

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There is emptiness in Vivian's background too. Then suddenly this knight on a white horse. Yet like Edward, Viv too is still looking for a mother's nurture. Hence the resonance when she says to her sugar daddy Edward Prostitutes Milledgeville their first bittersweet breakup, "I think you have a lot of special gifts.

As lovers, they find in each other the prosthetic support withheld in childhood by punitive and rapacious parents. In the fashion boutique on Rodeo Drive, helping Viv to negotiate intimidating class barriers, Edward Prostitutes Milledgeville instructs the manager to boost her self-esteem.

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In the bath together as Edward reveals his anguished childhood to her, Viv strokes his breast like a mother bathing a baby--but Prostitutes Milledgeville, ambiguously, like a child Prostitutes Milledgeville its mother's breast.

In different ways, insofar as the breast signifies psychic integrity, secure bonds, and Prostitutes Milledgeville, the lovers can interchangeably take the roles of beauty and the breast of L. In the tenderness of this scene the screenplay is trying to imagine behavior that could address imprinted injury.

The symbolic logic assumes that as long as the characters labor under the spell of trauma, they cannot really change. To put it another way, the film suggests that debates about social values are less efficacious--less revolutionary--than deep remedial nurture.

This concept of trauma and the generous breast is a poignant but equivocal fantasy. While it respects Prostitutes Milledgeville irrational depths of private, individual motivation, it tends as well to moot immediate political remedies for social Prostitutes Milledgeville.

If our past and private injuries must be healed before we Prostitutes Milledgeville reform society, then we have little leverage against evil. The fantasy arguably displaces responsibility into the indefinite past.

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This is one reason the film screens out real Prostitutes Milledgeville and suffering: they might cry out for immediate action and Prostitutes Milledgeville a mockery of self-involved romance. Paradoxically the film's fantasy of release from post-traumatic dissociation actually encourages dissociation on another front insofar as it concentrates on private individuals to the exclusion of social interrelations that constitute the city. The bliss of love screens out other people.

Consider again the way a decision in Edward's palatial Hilton suite may radiate traumatic shock in all directions. Different social positions experience different aspects of traumatic distress. As The New York Times March 4, summarizes, "White-collar, middle-class Americans in mass numbers are coming to understand first hand the chronic insecurity on which the working class and poor are experts" A But trauma is inherently social, and so even "Those who have not lost Prostitutes Milledgeville jobs and their Prostitutes Milledgeville, and do not expect to, are also being traumatized.

The Prostitutes Milledgeville, the people who stay employed but sit next to empty desks and wilting ferns, are grappling with the guilt that psychologists label survivor's syndrome" A As "executioners," even lordly executives develop psychic numbing and somatic reactions typical of Prostitutes Milledgeville A These developments undermine loyalties and trust in the workplace and in community as well.

The damage to trust registered in the epic junk bonds and Savings and Loan scandals of the s which echoed the late Victorian "taint in the air. In a Sunday newspaper cartoon depicted a teenage boy saying nervously to his middle-class parents: "Sure I'm insecure. What if you guys decide to downsize? The cartoon glances at the terror in Edward's childhood.

Symbolically, Prostitutes Milledgeville your own children is infanticide or the psychic abandonment Havelock Ellis felt in the factory universe. As in the Nazi economy, Carter Lewis Prostitutes Milledgeville his wife and son to feed his own hunger for immortality. In Pretty Woman the camera repeatedly reinforces this criticism by Prostitutes Milledgeville financial dominance with senescence and death-anxiety, showing us snobbish white-haired couples in the Hilton hotel lobby who eye the sexy Viv with painful ambivalence, having sacrificed youth and eros Prostitutes Milledgeville chimerical security.

At the opera she is genuinely moved while Prostitutes Milledgeville elderly lady in the next box turns out to be Prostitutes Milledgeville of hearing and primly conventional. Even Edward at first seems a bit mummified in his body language compared to the way Viv sprawls, squats, or hunkers on chairs eats like a young primate at home in nature. By contrast, the seedy streets are full of mortal but vital youth. The film opens with Viv facing eviction because a respectable job "couldn't make the Prostitutes Milledgeville and her roommate has squandered the money from hooking on drugs.

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