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1978 US historical drama film by Louis Malle

April 5, 1978 ( 1978-04-05 ) (United States)

Brooke Shields as Violet
Keith Carradine as E. J. Bellocq
Susan Sarandon as Hattie
Frances Faye as Nell
Antonio Fargas as The Professor
Matthew Anton as "Red Top"
Diana Scarwid as Frieda
Barbara Steele as Josephine
Seret Scott as Flora
Cheryl Markowitz as Gussie
Susan Manskey as Fanny
Laura Zimmerman as Agnes
Miz Mary as Odette
Gerrit Graham as "Highpockets"
Mae Mercer as Mama Mosebery

^ "Brooke Shields talks about her hard-drinking mama in memoir" . nypost.com . 12 November 2014 . Retrieved 2022-01-30 .

^ Jump up to: a b "BBFC Case Study: Pretty Baby (1978)" . 4 August 2020.

^ Jump up to: a b McMurran, Kristen. "Pretty Brooke" Archived 2016-09-25 at the Wayback Machine , People (May 29, 1978).

^ Jones, Derek (2015-05-22). Censorship: A World Encyclopedia . p. 807. ISBN 9781136798641 . Retrieved 2016-01-11 .

^ "The Kubrick Site: Censorship of Kubrick's Films in South Africa" . Late in 1983, the DOP reviewed a number of films and released them on circuit. In some cases, as for example Louis Malle's Pretty Baby, the film had been banned and never screened before

^ "Rewind DVD comparison" .

^ Pretty Baby , Internet Movie Database. Accessed May 6, 2010.

^ Jump up to: a b " Pretty Baby (1978)". Rotten Tomatoes. Retrieved October 20, 2020.

^ Canby, Vincent. "Critic's Pick: Pretty Baby ," The New York Times (April 5, 1978).

^ Jump up to: a b Ebert, Roger. " Pretty Baby ," (June 1, 1978).

^ Variety Staff. " Pretty Baby " Variety (January 1, 1978). Accessed May 6, 2010.

^ The Best 1,000 Movies Ever Made. The New York Times via Internet Archive . Published April 29, 2003. Retrieved June 12, 2008.

^ "Festival de Cannes: Pretty Baby" . festival-cannes.com . Retrieved May 21, 2009 .

Pretty Baby is a 1978 American historical drama film directed by Louis Malle , and starring Brooke Shields , Keith Carradine , and Susan Sarandon . The screenplay was written by Polly Platt . The plot focuses on a 12-year-old prostitute in the red-light district of New Orleans in 1917.

The title of the film is inspired by the Tony Jackson song " Pretty Baby ", which is used in the soundtrack. Although the film was mostly praised by critics, it caused significant controversy due to its depiction of child prostitution and the nude scenes of Brooke Shields, who was 12 years old at the time of filming.

In 1917, during the last months of legal prostitution in Storyville , the red-light district of New Orleans, Louisiana , Hattie is a prostitute working at an elegant brothel run by the elderly, cocaine-sniffing Madame Nell. Hattie has given birth to a baby boy and has a 12-year-old daughter, Violet, who lives in the house. When photographer Ernest J. Bellocq comes with his camera, Hattie and Violet are the only people awake. He asks to be allowed to take photographs of the women. Madame Nell agrees only after he offers to pay.

Bellocq becomes a fixture in the brothel, photographing the prostitutes, mostly Hattie. His activities fascinate Violet, though she believes he is falling in love with her mother, which makes her jealous. Violet is a restless child, frustrated by the long, precise process Bellocq must go through to compose and take pictures.

Nell decides that Violet is old enough for her virginity to be auctioned off. After a bidding war among regulars, Violet is bought by an apparently quiet customer. Hattie, meanwhile, aspires to escape prostitution. She marries a customer and leaves for St. Louis without her daughter, whom her husband believes to be her sister. Hattie promises to return for Violet, once she's settled and has broken the news to the new spouse.

Violet runs away from the brothel after being punished for some hijinks. She appears on Bellocq's doorstep and asks him if he will sleep with her and take care of her. He initially says no, but then he takes her in and commences having a sexual relationship with the child. In many ways, their relationship resembles one between a parent and child, with Bellocq standing in for Violet's absent mother. Bellocq even buys Violet a doll, telling her that "every child should have a doll". Bellocq is entranced by Violet's beauty, youth, and photogenic face. She is frustrated by Bellocq's devotion to his photography and lack of care for her as a dependent, as much as he is frustrated by the reality that she is a child.

Violet eventually returns to Nell's after quarreling with Bellocq, 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.

Two weeks after the wedding, Hattie and her husband arrive from St. Louis to collect Violet, claiming that her marriage is illegal without their consent. Bellocq does not want to let Violet go. Violet asks if he will go with her and her family. Upon hearing that she does in fact want to go with them, he lets her leave without him, realizing that schooling and a more conventional life will benefit her greatly.

Following her acclaimed performance as a child prostitute in Taxi Driver (1976), the studio was keen on casting Jodie Foster as Violet. However, Malle rejected the idea as he thought the role should be played by a 12-year-old only, and Foster was 14.
Brooke Shields maintains that it was no big deal to shoot her nude scenes. "I did not experience any distress or humiliation," she writes. What she does remember was trying not to look as if "I'd just sucked on a lemon" before her on-screen kiss with 29-year-old Keith Carradine ("Keith was so kind," she writes) and being soundly slapped – on-screen and for real – by Susan Sarandon . [1]

ABC Records released a soundtrack of the film's ragtime score, which was nominated for an Academy Award for Best Adaptation Score in the "Adaptation Score" category.

Pretty Baby received an R rating in the United States, an X rating in the United Kingdom (18 following a change to the ratings system), [2] and an R18+ rating in Australia, for nudity and sexual content. Continuing controversy over Shields's nude scenes resulted in the film being banned in the Canadian provinces of Ontario and Saskatchewan until 1995. Gossip columnist Rona Barrett called the film " child pornography ", and director Louis Malle was described as a "combination of Lolita ' s Humbert Humbert and (by that point) controversial director Roman Polanski ". [3] In Argentina, the film, along with another of Paramount's recent releases ( Looking for Mr. Goodbar ), was banned under the regime of Jorge Rafael Videla during that country's last civil/military dictatorship due in large part to the "pornographic" content that was present in both films. [4] For five years, the film was also banned by the apartheid regime in South Africa. [5]

In addition to the issue of child prostitution, the scenes involving a nude 12-year-old Brooke Shields were controversial. [3] The BBFC originally censored two scenes for the film's cinema release in the UK to remove nudity, but the uncut version was released on DVD in 2006. [2] This same uncut print is the basis of the Region 1 and Region 2 DVD editions worldwide. [6]

Pretty Baby earned $5.8 million in the United States. [7]

The film received mostly positive reviews from critics. Review aggregator Rotten Tomatoes reports that 71% of 28 critics had given the film a positive review, with a rating average of 6.88/10. [8]

In his New York Times review 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." [9]

Similarly, Chicago Sun-Times critic Roger Ebert , who gave the film three stars out of four, 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 ." [10] He also praised Shields's performance, writing that she "... really creates a character here; her subtlety and depth are astonishing." [10]

On the other hand, Variety 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." [11] 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." [8]

The New York Times placed the film on its Best 1000 Movies Ever list. [12]

The film won the Technical Grand Prize at the 1978 Cannes Film Festival . [13]

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Giovanni F. Accolla, Franco Cardini, Domenico Del Nero, Giordano Bruno Guerri, Gennaro Malgieri, Gennaro Sangiuliano, Mirella Serri, Marcello Veneziani.
Marie Colvin, Remi Ochlik. Due eroi!
La giornalista americana Marie Colvin, che una volta si
definiva "un vigile del fuoco per il mondo", si era costruita la sua
importante reputazione come uno dei corrispondenti esteri più coraggiosi della
sua generazione.
La sua benda nera sull'occhio sinistro - che aveva dovuto
indossare da quando era stata accecata da una scheggia in Sri Lanka nel 2001 –
ha reso immediatamente riconoscibile il suo corpo durante le frequenti
apparizioni sulle reti via cavo e i broadcast internazionali.
Ore prima della sua morte, avvenuta mercoledì, all'età di 56
anni, nella città assediata di Homs, in Siria, la signora Colvin era stata
intervistata da alcune televisioni americane e britanniche.
Parlando con
Anderson Cooper della Cnn, aveva descritto l'esperienza
"terribile" di guardare da vicino un bambino di due anni morto dopo un
bombardamento da parte dell'esercito siriano.

La madre della Colvin, ha invitato i giornalisti nella sua casa
di East Norwich, a New York.
Tentando di non dare in un dirotto pianto, Rosemarie Colvin,
ha parlato della vita di sua figlia in maniera, definirei stoica, utilizzando
tutta la razionalità e la ragione rimastele per comprendere e dare una
spiegazione a questa tragedia personale.
Tornando all’intervista con la Cnn, quando Cooper le aveva
chiesto in merito alla correttezza di pubblicare certi immagini così crude e
devastanti della guerra, lei aveva risposto affermando che “i media devono
diffondere queste storie dalle zone di guerra, devono mostrare le bassezze di
certe azioni”. "Quel bambino," aveva continuato, "probabilmente aiuterà
sempre più persone a pensare che cosa sta succedendo e perché non c'è nessuno a
fermare questo continuo omicidio che sta avvenendo ogni giorno a Homs."
La Colvin copriva l'insurrezione armata, in corso in Siria,
per il giornale Sunday Times of London, lo stesso che ne aveva annunciato la
morte.
Lei è deceduta insieme ad un fotografo francese, Rémi Ochlik,
di 28 anni, a causa di un bombardamento che l’editore del Sunday Times, John
Witherow, ha descritto come “una
caduta di bombe devastatrice da parte dell'esercito Siriano”.
Almeno altri due
giornalisti sono stati feriti durante l'attacco, che ha colpito un
improvvisato ufficio di mezzi di informazione .
La notizia è arrivata a meno di una settimana dalla morte di Anthony
Shadid , un ex corrispondente del Washington Post, perito -a detta
del governo della Siria- per un attacco d'asma; un’ esecuzione premeditata per
il New York Times.

Almeno altri cinque giornalisti sono stati assassinati -in
questo paese- dal mese di novembre, secondo il Committee to Protect
Journalists , un'organizzazione no-profit che promuove la
libertà di stampa.

La giornalista viveva a New York ed era stata profondamente
influenzata da uno stile di scrittura appreso alla Yale University, quello
di John Hersey, autore di un racconto, pietra miliare di riferimento, del
bombardamento atomico di Hiroshima, nel 1945, in Giappone. I suoi testi,
insieme a quelli della corrispondente di guerra Martha Gellhorn, l’ avevano attirata
verso il giornalismo.
Nei suoi 26 anni di carriera, con il Sunday Times, la Colvin
era stata l’occhio e la mente del giornale in moltissime zone di conflitto e in
ben tre continenti. Aveva evitato diverse conferenze stampa e più volte
aveva rischiato la vita per non esprimersi su queste guerre così da evitare
ritorsioni sulla gente ordinaria, in particolare donne e bambini di quei luoghi.
Nel 1999, era stata uno dei tre giornalisti - tutte donne - a
rimanere in Timor Est (Asia Sud-Orientale) per aiutare più di 1.000 profughi rifugiati in
un avamposto delle Nazioni Unite sottoposto ad attacchi delle milizie
governative.
Degli osservatori avevano accreditato i suoi servizi come strumenti
che avevano salvato molti di questi rifugiati. Le Nazioni Unite, in seguito,
avevano deciso di rimuovere dal luogo i loro tutori della pace, ma i rapporti
della Colvin fecero desistere l’ U.N. da quella presa di posizione, in quanto “la situazione di Timor Est era
politicamente insostenibile”.
"Crateri. Case bruciate. Corpi
mutilati. Donne che piangono i figli e i mariti. Gli uomini per le
loro mogli, madri, bambini ", dirà nel 2010 a Londra in un tributo ai
giornalisti uccisi in missione. "La nostra funzione importante è
quella di segnalare questi orrori causati dalla guerra, con precisione e senza
pregiudizi. E non deve assolutamente trasformarsi in un film horror, perché di esso ce ne dimentichiamo appena compare la scritta the end , ma in certi
posti questa dicitura non spunta mai!"

Lei non aveva perso la sua energia né la sua volontà di
ferro, per testimoniare che, a prescindere dai costi, le guerre e le loro
conseguenze cadevano ogni volta esclusivamente sulle popolazioni
civili. Marie Colvin era sempre in prima linea. La sua specialità era
quella di andare nei posti più impossibili, più pericolosi, si trovava a fianco
dei civili intrappolati con le bombe. Dalla Cecenia all'Iraq,
dall'Afghanistan alla Libia, era sempre tra i primi ad arrivare, e l'ultima ad
andarsene.
Marie Colvin e Remi Ochlik non sono vittime. Sapevano i
rischi a cui andavano incontro, e la decisione di rimanere a Homs, assediata e
bombardata, era venuta esclusivamente dai loro propositi.
Non erano teste calde come qualche giornale, amante delle
guerre, aveva tenuto a puntualizzare il giorno stesso della loro morte.
Perché non si riflette in questi luoghi di disperazione,
perché non si racconta la realtà di una guerra senza dividerne i pericoli con
quelli che la subiscono o che la fanno, perché infine questi rischi assunti
sono la dignità di un mestiere che altrimenti sarebbe solamente del voyeurismo.
Rémi Ochlik e Marie sono morti avendo vissuto fino alla fine
il lavoro che amavano, e che hanno esercitato con passione.
Una volta si definiva
"morte eroica".

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