The Devil Wears Prada

I have a "backlog" of movie reviews that I've been working on over the past several weeks, which I am trying to complete and post. Here is one of the first--and keep an eye out for more! :)

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When Andrea “Andy” Sachs (Anne Hathaway) interviews for a job as second assistant to Miranda Priestly (Meryl Streep), she thinks it’s “just a job.” As a struggling young journalist, Andrea is fairly desperate for any job that will give her a promising “break” into the literary world, and as she puts it when she goes in for her interview, “It’s either this or Auto Universe.” What she doesn’t realize is that a position as Miranda’s assistant is a highly coveted job—she is told that “a million girls would kill for this job.” Miranda’s legendary fashion magazine Runway has garnered a worldwide reputation in the fashion world, but although she recognizes the opportunity that has been set before her, Andy isn’t convinced that she’ll be able to fit into a world where a size 6 is scorned as a heinous sin.

It’s something of a predictable storyline: smart young female enters challenging atmosphere and seeks to fit in while still holding to her ideals. Will she be able to stick it out without a) losing her sanity, or b) turning “to the Dark Side”? This is the story the movie tells, the tale of a young woman seeking to make the best of an opportunity that at first doesn’t really appeal to her.

Aline Brosh McKenna’s script for The Devil Wears Prada consistently pokes fun at the world of the fashionably elite, while at the same time demonstrating how it fails to provide fulfillment for those who live in it. After witnessing the backstabbing, disappointment, and lack of principles in the world surrounding her, Andy questions whether these social elite might ever wish they could return to “normal” life. Miranda’s biting reply is indicative of the modern mindset, especially in America: “Don’t be ridiculous, Andrea—everyone wishes they were us.” Despite this self-confident comment, however, Miranda does have a moment of doubt and realization as she watches her family life falling apart piece by piece. She eventually recovers both her enthusiasm and her societal standing, but the film clearly portrays the emptiness of such an existence.

Despite this aspect (which should be considered positive), however, the movie has several critical flaws with regards to the moral attitude it portrays. Andy lives with her boyfriend Nate, who is frustrated by the way her job seems to be changing her. When he confronts her about her attitude, though, she says it might be a good time for them to “take a break” in their relationship—and then she proceeds to go to Paris where she has a brief “encounter” with Christian Thompson, an author she barely knows. She does recover some semblance of her morality, pulling out of the brief relationship with Christian in no uncertain terms. To the film’s credit, the whole fling is not portrayed as a positive thing. Andrea and Nate’s co-habitation, however, is portrayed as a good and natural/normal state, and I could only shake my head when Nate asks Andrea to move to Chicago with him at the end of the film. One wonders whether Nate was even aware of the Paris episode.

Dialogue is witty and biting throughout the film. Between Miranda’s dry sarcasm and her first assistant Emily’s over-dramatized scorn of Andy, there is great potential for humor. Indeed, the characters do have their moments, and the movie certainly does produce some laughs. One wishes for more than just humor, though.

Meryl Streep delivers a solid performance as Miranda, thought not necessarily worthy of the Oscar nomination she received. I must admit to some surprise when I heard the nominees announced. Anne Hathaway fits the transformational role of Andy quite nicely, though I’ve never quite been able to shake the image of Mia Thermopolis whenever I see her in a film. She has matured as an actress, however, and she brings Andy to life with both spirit and humor. Emily Blunt is perhaps the star of the show, though, with her hilarious performance as Miranda's first assistant. Her dry and unabashedly sarcastic attitude toward Andy draws many of the film's best moments of humor. This young actress steals the spotlight with one of the film's strongest performances (the other comes from Stanley Tucci's quirky portrayal of Miranda's layout designer, Nigel).

All in all, it was mildly enjoyable, but could have been so much more. It might be fun to watch an utterly non-glamorous college grad trying to adopt to the atmosphere of the country's top fashion leader. But don't expect to come away with any sort of truly solid message. You'll be disappointed.

Not really recommended; rated PG-13 for some sensuality.