Переводите английские фразы и сравнивайте свой перевод с переводом профессионального переводчика.
[Woman Singing]
[Continues]
— [Continues]
[Continues]
Какие автобусы здесь останавливаются?
Акция протеста сотрудниц и студенток университета против насилия.
Удачи.
[Continues]
— [Continues]
— [Horn Honks]
[Continues]
[Bell Dings]
Hi. Uh, I have an appointment with Emily Charlton?
— Andrea Sachs?
— Yes.
Great. Human Resources certainly has an odd sense of humor.
Follow me.
Okay, so I was Miranda’s second assistant…
but her first assistant recently got promoted, and so now I’m the first.
— Oh, and you’re replacing yourself.
— Well, I am trying.
ПОДИУМ
Здрасьте. Я пришла на собеседование…
…с Эмили Чарлтон.
— Эндреа Сакс?
— Да.
Чудно. У них в отделе кадров своеобразное чувство юмора. Идемте.
В общем, раньше я была младшей ассистенткой Миранды…
…но недавно старшую повысили, так что теперь я — старшая.
We need to find someone who can survive here.
Do you understand?
Yeah. Of course. Who’s Miranda?
Oh, my God. I will pretend you did not just ask me that.
She’s the editor in chief of Runway, not to mention a legend.
You work a year for her, and you can get a job at any magazine you want.
A million girls would kill for this job.
It sounds like a great opportunity.
I’d love to be considered.
[Giggling]
Andrea, Runway is a fashion magazine…
so an interest in fashion is crucial.
What makes you think I’m not interested in fashion?
— [Cell Phone Ringing]
— Oh, my God.
No! No! No!
What’s wrong?
She’s on her way. Tell everyone!
She’s not supposed to be here until 9:00.
Her driver just text messaged, and her facialist ruptured a disk.
— God, these people!
— [Whistles, Whispers] Who’s that?
— Да, пытаюсь.
Две последние не продержались у Миранды и пары недель.
Нам нужен человек, который здесь выживет.
— Ясно?
— Да, ясно. А кто такая Миранда?
О, Боже мой. Будем считать, что вы не задавали этого вопроса.
Она — главный редактор «Подиума»!
И легендарная личность.
Тебя возьмут в любой журнал, если сможешь продержаться у нее год.
— Миллионы девушек мечтают об этом.
— Это — отличная возможность.
Я буду рада, если меня возьмут.
Эндреа…
«Подиум» — это журнал мод, поэтому интерес к моде играет ключевую роль.
Почему вы думаете, что мне не интересна мода?
О, Господи.
Нет, нет, нет!
Что такое?
Она уже едет. Передай всем.
Она же собиралась приехать к девяти.
Шофер прислал мне эсэмэску — ее визажистка сломала ногу.
Ну что за люди.
All right, everyone! Gird your loins!
— [Excited Chattering]
— Did somebody eat an onion bagel?
[Exhales, Sniffs]
— Об этом даже не спрашивай.
Так, внимание. Боевая готовность!
От кого здесь несет луком?
Sorry, Miranda.
[Bell Dings]
Move it! Ooh!
I don’t understand why it’s so difficult to confirm an appointment.
I know. I’m so sorry, Miranda.
I actually did confirm last night.
Details of your incompetence do not interest me.
Tell Simone I’m not going to approve that girl that she sent me for the Brazilian layout.
I asked for clean, athletic, smiling.
She sent me dirty, tired and paunchy.
And R.S.V.P. Yes to the Michael Kors party.
I want the driver to drop me off at 9:30 and pick me up at 9:45 sharp.
— [Whispers] 9:45 sharp.
— Call Natalie at Glorious Foods, tell her no for the 40th time.
No, I don’t want dacquoise. I want tortes filled with warm rhubarb compote.
Then call my ex-husband and remind him the parent-teacher conference is at Dalton tonight.
Побыстрей.
Не понимаю, неужели трудно уточнить, состоится ли у меня встреча.
Да, мне так жаль, Миранда. Я уточняла у нее вчера вечером, но…
Детали ваших ляпсусов меня не интересуют.
Скажите Симоне, что я не одобрила девушку…
…которую она прислала для бразильского проекта.
Я просила чистенькую, симпатичную, стройную. А эта — грязная и с брюшком.
Примите приглашение на банкет у Майкла Корса.
Меня нужно доставить туда в 9.30 и забрать ровно в 9.45.
Позвоните Натали в «Глориос Фудз» и скажите ей «нет» в сотый раз.
Мне не нужен дакуа. Мне нужны тарталетки с сиропом из ревеня.
Еще позвоните моему бывшему мужу и напомните…
Tell Richard I saw the pictures that he sent for that feature on the female paratroopers…
and they’re all so deeply unattractive.
Is it impossible to find a lovely, slender female paratrooper?
— No.
— Am I reaching for the stars here? Not really.
Also, I need to see all the things that Nigel has pulled for Gwyneth’s second cover try.
I wonder if she’s lost any of that weight yet. Who’s that?
Nobody. Um, uh-
Human Resources sent her up about the new assistant job, and I was preinterviewing her.
But she’s hopeless and totally wrong for it.
Clearly I’m going to have to do that myself because the last two you sent me…
were completely inadequate.
So send her in. That’s all.
Right.
— She wants to see you.
— Oh! She does?
Move!
— This is foul. Don’t let her see it. Go!
— That’s-
А затем моему мужу. Скажите, что я поужинаю с ним…
…в ресторане, где встречалась с Массимо.
Еще скажите Ричарду, что я посмотрела его фотографии…
…к статье о парашютистках…
…и все они на редкость непривлекательны.
Неужели так мало красивых…
…стройных девушек в войсках?
— Нет.
— Я требую невозможного?
— Не требуете.
Конечно. И еще…
…я хочу просмотреть все модели, которые Найджел отобрал…
…для второй фотосессии с Гвинет.
Интересно, она снова похудела или нет. Кто это?
Никто.
В общем, отдел кадров предлагает ее на должность младшей ассистентки.
Я провела с ней собеседование.
Она абсолютно безнадежна и непригодна…
Мне придется провести собеседование самой.
Те две девушки, которых подобрали вы, ни на что не годились…
…так что пригласите ее.
Это все.
Хорошо.
— Она хочет взглянуть на вас.
— Да?
Быстрей.
Who are you?
Uh, my name is Andy Sachs.
I recently graduated from Northwestern University.
And what are you doing here?
[Clears Throat]
Well, I think I could do a good job as your assistant.
And, um-
Yeah, I came to New York to be a journalist and sent letters out everywhere…
and then finally got a call from Elias-Clarke…
and met with Sherry up at Human Resources.
Basically, it’s this or Auto Universe.
— So you don’t read Runway?
— Uh, no.
And before today, you had never heard of me.
No.
And you have no style or sense of fashion.
Well, um, I think that depends on what you’re-
No, no. That wasn’t a question.
— Там мои…
— Идите.
Кто вы?
Меня зовут Энди Сакс.
Я недавно закончила университет Нордвестерн.
А что вы делаете здесь?
Ну, я хотела бы стать вашей ассистенткой.
И…
Я приехала в Нью-Йорк, чтобы стать журналисткой, разослала письма и…
…наконец мне позвонили из Илайес-Кларк…
…и я встретилась с Шерри из отдела кадров…
На данный момент получается либо эта работа, либо в «Мире Авто».
— Так вы не читаете «Подиум».
— Нет.
— И никогда не слышали обо мне?
— Нет.
И вкус и понимание моды вам не свойственны.
Ну…
Думаю, это зависит от того, что вы…
I also, um, won a national competition for college journalists…
with my series on thejanitors’union, which exposed the exploitation-
That’s all.
[Scoffs]
Yeah. You know, okay.
You’re right. I don’t fit in here.
I am not skinny or glamorous…
and I don’t know that much about fashion.
But I’m smart.
I learn fast and I will work very hard.
I got the exclusive on the Cavalli for Gwyneth…
but the problem is, with that huge feathered headdress that she’s wearing…
she looks like she’s working the main stage at the Golden Nugget.
Thank you for your time.
Who is that sad little person?
Are we doing a before-and-after piece I don’t know about?
Я была главным редактором университетской газеты.
А также получила главный приз конкурса среди студентов за серию…
…статей о профсоюзе дворников…
…которые рассказывают об…
— Это все.
Да, вы правы, все верно.
Я из другого теста.
Я полновата, я не стильная и мало что смыслю в моде…
…но я неглупа.
— Я все схватываю на лету.
— Я получил эксклюзив на…
…Кавалли для Гвинет.
Но вот проблема: В этом огромном головном уборе с перьями…
…она выглядит как танцовщица из Лас-Вегаса.
Спасибо, что уделили время.
Что это за жалкое существо?
У нас что, новая рубрика «превращение гадкого утенка в лебедя»?
Thank you.
— Andrea.
— Hmm?
Wait. You got a job at a fashion magazine?
— Mm-hmm.
— What was it, a phone interview?
— [Woman] Wow.
— Ow! Don’t be a jerk.
Miranda Priestly is famous for being unpredictable.
Okay, Doug. How is it that you know who she is and I didn’t?
— I’m actually a girl.
— Oh!
— That would explain so much.
— [Doug] Look, seriously.
Miranda Priestly is a huge deal.
I bet a million girls would kill for that job.
Yeah, great.
The thing is I’m not one of them.
[Woman]
Look, you gotta start somewhere, right?
I mean, look at this dump Nate works in.
I mean, come on.
Paper napkins? Hello.
Yeah. And Lily, she works at that gallery doing, uh, you know-
Oh, I’m sorry. What exactly is it that you do anyway?
Well, lucky for me, I already have my dream job.
[With Lily]
You’re a corporate research analyst!
Постой. Тебя взяли на работу в журнал мод?
Собеседование было по телефону?
— Да как тебе не стыдно.
— Нет, я просто…
Миранда Пристли славится непредсказуемостью.
Даг. Почему ты знаешь, кто она, а я не знала?
На самом деле я — девушка.
Тогда многое становится понятным.
Нет, серьезно, Миранда Пристли — великий человек.
Миллионы девушек мечтают о такой должности.
Наверное, это так, но я мечтала не об этом.
Ну, с чего-то ведь надо начинать, так?
Вот Нэйт ведь работает в забегаловке.
Нет, ей Богу. Бумажные салфетки?
Смешно.
А Лили работает в галерее и делает, ну…
Прости, что ты там все-таки делаешь, а?
Я просто счастливчик, у меня мечта, а не работа.
— No!
— It sucks. I don’t- It’s boring.
— It’s all right. Breathe.
— I’m trying.
— Here. Take a drink.
— I will have a drink. I will have a drink.
— Ah, yes.
— I’d like to propose a toast.
To jobs that pay the rent.
— To jobs that pay the rent.
[Lily]
Jobs that pay the rent.
Oh, baby. You should see the way these girls at Runway dress.
I don’t have a thing to wear to work.
Come on. You’re gonna be answering phones and getting coffee.
You need a ball gown for that?
I think I might.
Well, I happen to think you look great always.
Aww! I think you’re full of it.
[Giggling]
— Hey. Come on. Let’s go home.
— Yeah.
I can think of something we can do that doesn’t require any clothing.
— Really?
— Mmm.
— [Phone Ringing]
— [Woman Singing]
Hello?
Andrea, Miranda decided to kill the autumn jacket story for September…
— Финансовый аналитик.
— Вы правы. Моя работа — отстой.
— Нет.
— Да. Она скучная.
— Не расстраивайся.
— Пытаюсь.
— Лучше выпей.
— Я выпью.
— Я хочу произнести тост.
За высокооплачиваемую работу.
— За высокооплачиваемую работу.
— За высокооплачиваемую работу.
Видел бы ты, как одеваются там сотрудницы.
Мне просто не в чем пойти на работу.
Неужели, для того чтобы отвечать на звонки и подавать кофе…
…необходимо вечернее платье?
Вполне возможно.
По-моему, ты всегда чудесно выглядишь.
Знаешь, ты ужасный врун.
— Эй. Слушай.
— Да.
— Пошли-ка домой. Я знаю отличное занятие…
…для которого одежда не нужна.
— Да ну?
— Алло?
— Эндреа.
You need to come into the office right this second and pick up her coffee order on the way.
— Now?
— Now, get a pen and write this down.
— Now?
— Now, get a pen and write this down.
I want one no-foam skimmed latte with an extra shot…
and three drip coffees with room for milk.
— Searing hot. And I mean hot.
— [Line Clicks]
— [Continues]
— [Cell Phone Ringing]
Hello?
— [Emily] Where are you?
— Oh, I’m almost there. Yeah.
Shoot! Oh!
[Ends]
Is there some reason that my coffee isn’t here?
Has she died or something?
No. [Whispers] God.
Oh. Bloody time.
— I hope you know that this is a very difficult job- — Mm-hmm.
For which you are totally wrong.
And if you mess up, my head is on the chopping block.
Now, hang that up.
Don’t just fling it anywhere.
Вместо этого будут фото, отснятые в Седоне.
Сию же секунду отправляйся в офис.
— По дороге захвати для нее кофе.
— Сейчас?
Так, возьми ручку и запиши.
Один двойной латте без пены…
три кофе, такие, чтобы можно было долить молока.
И все горячие. Очень горячие.
— Алло?
— Ну и где ты?
Уже рядом. Да.
Черт.
А почему мне до сих пор не принесли кофе?
Она что, умерла?
Нет. Боже…
Ну, наконец-то.
Надеюсь, ты понимаешь, что это крайне сложная работа…
…и ты для нее не годишься.
Если ты не справишься, голову снесут мне.
Повесь пальто. Не бросай его где попало.
The phone must be answered every single time it rings.
Calls roll to voice mail, and she gets very upset.
If I’m not here-Andrea, Andrea-
you are chained to that desk.
— Well, what if I need to- — What? No.
One time an assistant left the desk because she sliced her hand open with a letter opener…
and Miranda missed Lagerfeld…
just before he boarded a 17-hour flight to Australia.
She now works at TVGuide.
— Man the desk at all times. Got it.
— [Phone Rings]
— Uh- — Miranda Priestly’s office.
No, she’s not available.
— Who is it?
— [Mouthing Words]
Yes, I will tell her you called… yet again.
— [Bell Chimes]
— Right. Remember, you and I have totally differentjobs.
— Сейчас покажу.
Это — первая часть коллекции, о которой мы говорили…
Итак, мы с тобой отвечаем на телефонные звонки.
Трубку необходимо снимать всякий раз, когда звонит телефон.
Иначе включается голосовая почта, и ее это сердит.
Если меня здесь нет… Эндреа.
— Никуда не отходи от стола.
А если мне нужно будет?
Что? Нет. Однажды ассистентка оставила свой пост…
…потому что поранила руку ножом для бумаги.
И Миранда не успела поговорить с Лагерфельдом…
…до его семнадцатичасового перелета в Австралию.
Теперь она работает в «Телегиде».
Всегда быть на посту. Понятно.
Офис Миранды Пристли.
Нет, она не может подойти.
С кем…?
Я передам, что вы звонили.
И еще раз.
Yet I am in charge of her schedule…
her appointments and her expenses.
And, um, most importantly, um…
I get to go with her to Paris for Fashion Week in the fall.
I get to wear couture.
I go to all the shows and all the parties.
I meet all of the designers.
It’s divine.
Okay. Now, stay here. I’m going to the art department to give them the Book.
— The- — This is the Book.
Now, it is a mock-up of everything…
in the current issue.
And we deliver it to Miranda’s apartment every night, and she retu-
Don’t touch it. She returns it to us in the morning with her notes.
Now, the second assistant is supposed to do this…
but Miranda is very private and she does not like strangers in her house.
So until she decides that you are not a total psycho…
I get the lovely task of waiting around for the Book.
— [Phone Rings]
— Oh, Emily? What do I do-
— Deal with it.
— [Rings]
Ты приносишь кофе, выполняешь мелкие поручения.
Ну а в моем ведении — ее расписание…
…встречи, ведение счетов…
…но самое главное — я еду с ней осенью в Париж на неделю моды.
Буду носить кутюр.
Посещать все показы и банкеты.
Познакомлюсь со всеми дизайнерами.
Шикарно.
Ну ладно. Оставайся здесь.
А я пойду в арт-отдел, отнесу им Книгу.
— Что?
— Это — Книга.
Это макет номера, который сейчас находится в работе.
И мы каждый вечер доставляем его Миранде, а наутро… Не трогай.
Она возвращает его со своими пометками.
Делать это положено младшей ассистентке…
…но Миранда человек замкнутый и не терпит посторонних в доме.
Так что, пока она не удостоверится, что ты не псих…
…обязанность отвозить Книгу остается на мне.
— Эмили? Что мне делать, если…?
— Сообрази.
[Rings]
Hello. Mrs. Priestly’s office.
Hmm. That’s what I meant.
Miranda Priestly’s office.
[Groans]
Um, you know, she is in a meeting.
Can I please take a message?
Uh-huh.
Okay. Can you please spell Gabbana?
— [Line Clicks, Dial Tone Hums]
— Hello?
I guess not.
I guessed an eight and a half.
Um, uh, that’s very nice of you…
but I don’t think I need these.
Miranda hired me.
She knows what I look like.
— Do you?
— [Chuckles]
Emily.
Emily?
She means you.
— Wejust cut on the bias.
— [Miranda] That’s not what I asked you.
I couldn’t have been clearer.
There you are, Emily.
Я это и имела в виду.
Офис Миранды Пристли.
У нее совещание. Не хотите оставить сообщение?
Хорошо.
Не подскажете, как пишется «Габбана»?
Алло?
Видимо, нет.
Восемь с половиной, угадал?
Вы очень добры.
Думаю, это зря. Миранда взяла меня.
— Она знает, как я выгляжу.
— А вы знаете?
Эмили.
Эмили?
Это она вам.
— Здесь выкроено по косой так, чтобы…
— Я спрашивала не об этом.
— Actually, it’s Andy.
My name is Andy.
Andrea, but, uh, everybody calls me Andy.
[Chuckles]
I need 10 or 15 skirts from Calvin Klein.
— What kind of skirts do you- — Please bore someone else with your questions.
And make sure we have Pier 59 at 8:00 a.m. Tomorrow.
Remind Jocelyn I need to see a few of those satchels that Marc is doing in the pony.
And then tell Simone I’ll takeJackie if Maggie isn’t available.
— Did Demarchelier confirm?
— D-Did D-Demarchel-
Demarchelier.
Did he- Get him on the phone.
Uh, o- okay.
— And, Emily?
— Yes?
That’s all.
It’s just the cavalier disregard for clear directions-
Вообще-то я — Энди.
Мое имя — Энди. Эндреа, но все зовут меня Энди.
Мне нужны десять-пятнадцать юбок от Кэлвина Кляйна.
— Хорошо. Какие именно юбки…?
— Пожалуйста, не утомляйте вопросами.
Проверьте: Пир 59 должна в 8 предоставить нам завтра студию.
И напомните Джослин: Я должна взглянуть на те пони-рюкзачки Марка.
И скажите Симоне: Я согласна на Джеки, если Мэгги занята.
Демаршелье подтвердил встречу?
— Демаршели…?
— Демаршелье.
Свяжите меня с ним.
Хорошо.
Эмили?
Да?
Это все.
Do you have Demarchelier?
Uh, Demarchelier.
— [Groans] Leave it.
— Do you have-
I have Miranda Priestly calling.
I have Patrick!
Uh, no, she called me in there and-and then she asked me about Pier 59.
And there was something about Simone, Frankie, someone else.
And, um, she needs skirts from Calvin Klein.
And, uh, there was something about a pony.
— Did she say which skirts?
— No. No.
— Did she say what kind? Color, shape, fabric?
— I tried to ask her.
You may never ask Miranda anything.
Right. I will deal with all of this, and you will go to Calvin Klein.
Eh- Me?
Oh, I’m sorry. Do you have some prior commitment?
Some hideous skirt convention you have to go to?
Uh-
Вы набрали Демаршелье?
Демаршелье.
Я сама.
У тебя есть…? О.
Звонит Миранда Пристли.
Патрик на линии!
Она вызвала меня к себе и спросила про Пир 59.
Еще что-то сказала насчет Симоны, Фрэнки, кого-то еще.
Ей нужны юбки от Кэлвина Кляйна.
Было еще что-то насчет пони.
— Она сказала, какие юбки?
— Нет.
— Цвет? Покрой? Длина?
— Я пыталась у нее спросить.
Не вздумай задавать Миранде вопросов.
Я разберусь со всем этим… А ты поедешь к Кэлвину Кляйну.
— Я?
— Ах, прости.
У тебя, видимо, другие планы?
Спешишь на съезд любительниц уродских юбок?
— Miranda?
— Are you there?
— I’m about to walk in. I’ll call you as soon as-
[Line Clicks]
— [Cell Phone Rings]
— [Horn Honks]
— Hello? Hi.
— [Emily] While you’re out…
Miranda needs you to go to Hermès to pick up 25 scarves we ordered for her.
— Okay.
— Cassidy forgot her homework at Dalton.
Pick that up.
Miranda went out to meet with Meisel, and she will want more Starbucks when she gets back.
— Hot Starbucks.
— Can you just repeat that first-
— [Dial Tone Hums]
— Hello?
Oh, my God.
What took you so long?
I have to pee!
What?
You haven’t peed since I left?
No, I haven’t. I’ve been manning the desk, haven’t I? I’m bursting.
Oh, hi.
— Вы уже там?
Да, почти. Я позвоню вам как только…
— Алло?
— Раз уж ты там…
…заскочи в Эрмес и забери двадцать пять шарфов для Миранды.
Кэссиди забыла в школе домашнее задание. Зайди за ним.
Миранда на встрече с Майзелом.
Когда она вернется, ей нужно будет подать кофе.
— Горячий, из Старбакс.
— Ты не повторишь первое…? Алло?
О, Боже.
Почему так долго? Мне нужно в туалет.
— Ты что, терпела с тех пор как я ушла?
— Ну да.
Я же не могла покинуть пост! Сейчас просто лопну.
— You do coat. Do the coat!
Okay.
Now, be prepared.
The run-through is at 12:30.
People are panicking, so the phone is going to be ringing off the hook.
The ru-The run-through. Right.
Yes. Editors bring in options for the shoot, and Miranda chooses.
She chooses every single thing in every single issue.
Run-throughs are a huge deal.
I don’t know why you don’t know that, Andrea.
— [Woman] Okay. Are you ready?
— [Emily] Oh, hi, hi.
Right. Well, after the loo, Serena and I are going to lunch.
— This is her- the new me.
— Hi.
— Told you.
— I thought you were kidding.
No, quite serious, yeah.
I get 20 minutes for lunch, and you get 15.
— When I come back, you can go.
— Okay.
[Serena]
What exactly is she wearing?
[Giggling]
Her grandmother’s skirt.
[Man Singing In French]
Hmm. Corn chowder.
That’s an interesting choice.
You do know that cellulite is one of the main ingredients in corn chowder.
— Повесь пальто. Повесь пальто.
— Ага.
Так, будь готова. В полпервого у нас прогон, и народ в панике.
Так что телефон будет звонить беспрерывно.
Прогон. Ясно.
Да. Редакторы представляют варианты для фотосессий Миранде.
Она отбирает все вещи для каждого из номеров журнала.
Прогон — важное событие.
Как можно этого не знать.
— Ну, ты готова?
— О, привет, привет.
Я быстро в туалет и мы с Сириной идем на ланч.
— Это она, новая я.
— Здрасьте.
— Я тебе говорила.
— Я думала, ты шутишь.
Какие уж тут шутки.
У меня перерыв — двадцать минут, у тебя — пятнадцать.
— Сможешь уйти, когда вернусь.
— Хорошо.
— Что это она напялила?
— Бабушкину юбку.
Кукурузный супчик?
Любопытный выбор.
So none of the girls here eat anything?
Not since two became the new four and zero became the new two.
— Well, I’m a six.
— Which is the new 14.
Oh. Shoot.
Oh, never mind. I’m sure you have plenty more polyblend where that came from.
— [Cash Register Clicking]
— Okay. You think my clothes are hideous.
I get it.
But, you know, I’m not going to be in fashion forever…
so I don’t see the point of changing everything about myself just because I have this job.
Yes, that’s true.
That’s really what this multibillion-dollar industry is all about anyway, isn’t it?
— Inner beauty.
— [Cell Phone Rings]
Hello.
Right. Come on.
— Miranda’s pushed the run-through up a half an hour.
— Mmm!
— She’s always 15 minutes early.
— Which means?
Ваши сотрудницы ничего не едят?
Нет, с тех пор, как изменили систему размеров, и нулевой стал вторым.
У меня — шестой.
То есть четырнадцатый.
— Черт!
— О, не переживайте.
Уверен, у вас шкафу еще немало всякой синтетики.
Ну да.
Вы считаете, я ужасно одеваюсь.
Но я не собираюсь всю жизнь работать в журнале мод…
…так что я не вижу смысла менять свой облик потому, что здесь работаю.
Да, это верно.
Ведь в конце концов, многомиллионная индустрия моды на что направлена?
На красоту души.
Алло?
Ясно. Идемте.
Миранда перенесла прогон на двенадцать.
— Shoot!
Excuse me.
— [Bell Dings]
— Mr. Ravitz.
Nigel.
— Issue going well?
— Oh, yes. Our best September ever.
Great. Heard Miranda killed autumn jackets and pulled up the Sedona shoot.
What’s that costing me?
About 300,000.
Must have been some lousy jackets.
— Irv Ravitz.
— Oh, I’m sorry.
This is Andy Sachs, Miranda’s new assistant.
Congratulations, young lady.
A million girls would kill for that job.
Bye-bye.
— Hmm?
— Chairman of Elias-Clarke, Irv Ravitz.
You know what they say?
Tiny man, huge ego.
No. And I’ve seen all this before.
Theyskens is trying to reinvent the drop waist, so actually it’s-
— Where are all the other dresses?
— We have some right here.
— Stand, watch and listen.
— And I think it can be very interesting-
— И что?
— Вы уже опоздали.
— Идем. Извините.
— Черт!
— Мистер Рэвиц.
— Найджел.
— Номер получается?
— Лучший сентябрьский номер.
Говорят, Миранда заменила статью о жакетах на фото, отснятые в Седоне.
— Во что мне это обойдется?
— Примерно в триста тысяч.
Видимо, хреновые были жакеты.
— Ирв Рэвиц.
— О, простите.
Энди Сакс, новая ассистентка Миранды.
Поздравляю, юная леди. Миллионы девушек мечтают о такой должности.
Всего доброго.
Глава совета директоров. Ирв Рэвиц.
Как говорится, рост маленький — огромное эго.
Нет. И все это я уже видела.
Тескенс пытается снова ввести глубокое декольте, так что это…
— Где все остальные платья?
— Несколько — вот здесь.
Why is it so impossible to put together a decent run-through?
You people have had hours and hours to prepare. It’s just so confusing to me.
Where are the advertisers?
— We have some pieces from Banana Republic.
— We need more, don’t we?
— Oh. This is-This might be- What do you think of- — Yeah.
Well, you know me.
Give me a full ballerina skirt and a hint of saloon and I’m on board.
— But do you think it’s too much like- — Like the Lacroix from July?
I thought that, but no, not with the right accessories. It should work.
Where are the belts for this dre- Why is no one ready?
Here. It’s a tough call.
— They’re so different.
— [Miranda] Hmm.
[Snorts, Chuckles]
Something funny?
No. No, no. Nothing’s-
— Я думаю, будет интересно…
Нет.
Нет, я просто никак не возьму в толк.
Почему нельзя как следует подготовиться к прогону?
Вам дано было на это безумное количество времени.
Я в полном недоумении.
Где все рекламодатели?
— У нас есть модели от Банана Рипаб…
— Но этого мало, не так ли? О.
Это…
— Это пожалуй… Как вам оно?
— Да. Вы же меня знаете.
Моя большая слабость — тема варьете и пышные юбки.
— А вам не кажется, что оно похоже…?
— На Лакруа? Из июльского?
Я подумал было, но нет, если правильно подобрать аксессуары.
Вы подобрали пояс к этому платью?
Почему ничего не готово?
Выбрать трудно, они совершенно разные.
Что смешного?
Нет, ничего…
You know, I’m still learning about this stuff and, uh-
«This… stuff»?
Oh. Okay. I see.
You think this has nothing to do with you.
You go to your closet…
and you select- I don’t know- that lumpy blue sweater, for instance…
because you’re trying to tell the world that you take yourself too seriously…
to care about what you put on your back.
But what you don’t know is that that sweater is not just blue.
It’s not turquoise. It’s not lapis.
It’s actually cerulean.
And you’re also blithely unaware of the fact…
that in 2002, Oscar de la Renta did a collection of cerulean gowns.
And then I think it was Yves Saint Laurent- wasn’t it-
who showed cerulean military jackets?
— I think we need a jacket here.
— Mmm.
And then cerulean quickly showed up in the collections of eight different designers.
And then it, uh, filtered down through the department stores…
Я еще только учусь разбираться во всех этих шмотках…
«В этих шмотках»?
Вы думаете, что они к вам не имеют отношения.
Вы подходите к шкафу…
…и выбираете, не знаю, этот мешковатый голубой свитер…
…поскольку хотите всем показать, что вы — человек серьезный…
…и вас совсем не волнует, во что вы одеты, но…
…вы не знаете о том, что этот свитер не просто голубой.
Не лазурный. Не бирюзовый, а небесно-голубой.
И вам невдомек…
…что в 2002 году Де Ля Рента создал коллекцию платьев такого цвета…
…а затем, Ив Сен-Лоран — коллекцию небесно-голубых френчей.
К нему нужен жакет.
И вскоре другие дизайнеры ввели небесно-голубой цвет в свою палитру.
А затем он просочился в крупные магазины одежды, а потом…
and then trickled on down into some tragic Casual Corner…
where you, no doubt, fished it out of some clearance bin.
However, that blue represents millions of dollars…
and countless jobs…
and it’s sort of comical how you think that you’ve made a choice…
that exempts you from the fashion industry…
when, in fact…
you’re wearing a sweater that was selected for you by the people in this room…
from a pile of stuff.
So then I said, «No, I couldn’t see the difference…
between the two absolutely identical belts»…
and you should have seen the look she gave me!
I thought the flesh was gonna melt off her face.
— [Chuckles]
— It’s not funny.
She’s not happy unless everyone around her is panicked, nauseous or suicidal.
And the Clackers just worship her.
— The who?
— They call them Clackers.
The sound that their stilettos make in the marble lobby.
It’s like, «Clack, clack, clack. Clack, clack.»
[Groans] And they all act like they’re curing cancer or something.
[Chuckling]
The amount of time and energy…
…где вы его и выудили.
Для появления этого оттенка были затрачены миллионы и тяжкий труд.
И хотя вы уверены, что сделанный вами выбор…
…подчеркивает вашу независимость от моды…
…на самом деле вы носите свитер, который был выбран для вас…
…людьми в этой самой комнате…
…из горы «шмоток».
Ну, я и сказала, что не вижу разницы…
…между двумя абсолютно одинаковыми поясами.
Она на меня так посмотрела!
Я думала, она мне сейчас просто голову оторвет.
Не смешно.
Довольна она бывает только когда все в панике или на грани самоубийства.
А цокалки перед ней просто трепещут.
— Кто-кто?
— Их называют «цокалки».
В вестибюле мраморные полы, а они ходят на шпильках.
И цокают — цок, цок, цок, цок, цок.
А держатся так, будто лечат людей от рака.
So that tomorrow they can spend another $300,000 reshooting something…
that was probably fine to begin with…
to sell people things they don’t need!
God!
— I’m not even hungry anymore.
— What?
— That is why those girls are so skinny.
— Oh. No, no, no.
Give me that. There’s, like, eight dollars ofJarlsberg in there.
[Sighs]
You know what?
I just have to stick it out for a year.
One year.
And then I can do what I came to New York to do.
But I can’t let Miranda get to me.
I won’t.
Easy there, tiger.
— Oh, good morning, Miranda.
— Get me Isaac.
I don’t see my breakfast here.
Are my eggs here? Where are my eggs?
Excuse me!
Pick up the Polaroids from the lingerie shoot.
Have the brakes checked on my car.
…на какие-то никчемные, пустяковые детали. И все для чего?
Чтобы через пару дней потратить еще триста тысяч долларов…
…и переснять фото, которые и так были неплохи…
…и втюхать людям ненужные вещи! Ух!
— Даже есть уже не хочется.
— Что?
— Вот почему там все такие худые.
— Нет, нет, нет. Дай-ка.
Тут только сыра долларов на восемь.
Знаешь, что?
Я должна продержаться год. Один год.
А уже потом заниматься чем угодно.
Но я не дам ей себя мучить. Не дам.
Остынь.
— Доброе утро, Миранда.
— Мне нужен Айзек.
Я не вижу на столе завтрака.
Мне принесли омлет?
Извините!
Заберите полароидные снимки с показа нижнего белья.
Договоритесь о проверке тормозов в моей машине.
— [Gasps]
Where’s that piece of paper I had in my hand yesterday morning?
The girls need new surfboards or boogie boards or something for spring break.
— Hello.
— The twins also need flip-flops.
— Ow!
— Oh, my gosh!
Pick up my shoes from Blahnik, and then go get Patricia.
— Who’s that?
— Good girl! Good girl! Good girl!
Get me that little table that I liked at that store on Madison.
Get us a reservation for dinner tonight at that place that got the good review.
— Get me Isaac.
— Thirty-six thank-you notes delivered today.
— Where is everyone?
— Why is no one working?
[Miranda’s Voice Overlapping]
Get me Demarchelier.
I have Miranda Priestly calling for- Okay.
I have Patrick.
[Sighs]
Thank God it’s Friday, right?
Девочкам нужны новые доски…
…для серфинга или что-нибудь такое на весенние каникулы.
— Алло?
— Еще двойняшкам нужны шлепанцы.
Зайдите за моими туфлями к Бланику…
…а потом — за Патрицией.
— Кто это?
К ноге! К ноге! К ноге!
Купите столик, который мне понравился в магазине на Мэдисон.
Закажите нам на вечер столик в том месте, о котором хорошо отзываются.
— Нужно доставить сегодня.
Где все?
Почему никто не работает?
— Срочно отправляйтесь в Ист-Сайд.
Свяжите меня с Демаршелье.
Миранда Пристли хочет поговорить… Хорошо.
Патрик на линии.
You know, my dad’s coming in from Ohio.
Yeah, we’re gonna go out to dinner, maybe see Chicago.
You doing anything fun this weekend?
Yes.
[Piano]
[Andy]
Yeah, Nate said it was great.
He actually- He applied here, but they wanted someone with more experience.
— Here.
— Huh? What’s this?
I don’t want you to get behind on your rent.
— Dad, how did you- — It’s-
I’m gonna kill Mom.
[Chuckles]
Dad, thank you.
Mm-hmm.
— It’s really good to see you.
— You too, honey.
So, you want to start grilling me now…
or should we wait till after dinner?
I thought I’d let you at least enjoy the bread basket first.
No, no, no. It’s okay.
Go right ahead.
We’re just a little worried, honey.
Хорошо, что Миранда будет в Майами, хоть отдохнем спокойно.
Знаешь, ко мне папа приезжает из Огайо.
Мы пойдем в ресторан и может быть посмотрим мюзикл «Чикаго».
У тебя есть планы на выходные?
Есть.
Нэйт сказал, это хороший ресторан.
Он хотел сюда устроиться, но им нужен человек, у которого побольше опыта.
— На.
— Что это?
Не запаздывай с квартплатой.
— А как ты?
— Это…
Ну, я маме покажу.
Спасибо.
— Так рада тебя видеть.
— И я тебя, родная.
Ну, хочешь допросить меня сейчас или после ужина?
Сперва надо дать тебе хоть слегка подкрепиться.
Нет, не стоит. Начинай.
Your pay is terrible.
You don’t get to write anything.
Hey, that’s not fair.
I wrote those e-mails.
I’m just trying to understand why someone who got accepted to Stanford Law…
turns it down to be a journalist, and now you’re not even doing that.
Dad, you have to trust me.
Being Miranda’s assistant opens a lot of doors.
Emily is going to Paris with Miranda in a few months…
and she’s gonna meet editors and writers from every important magazine.
And in a year, that could be me.
— All right?
— Mm-hmm.
Dad, I swear, this is my break.
— This is my- my chance.
— [Cell Phone Ringing]
This is my boss.
— I’m sorry, Dad. I have to take this.
— Take it. Take it.
— Hello. Miranda?
— My flight has been canceled.
It’s some absurd weather problem.
I need to get home tonight. The twins have a recital tomorrow morning at school.
— What?
— At school!
Ты отправляешь электронные сообщения с работы в два часа ночи.
Платят тебе крохи.
Писать тебе ничего не дают.
Эй, ты не прав.
Я ведь писала сообщения.
Я просто не пойму: Тебя приняли на юрфак в Стэнфорд…
…ты отказалась, ушла в журналистику, а теперь и этим не занимаешься.
Ты должен поверить мне.
Перед ассистентами Миранды открываются все двери.
Эмили через пару месяцев едет с Мирандой в Париж…
…и там ее ждут встречи с редакторами всех влиятельных журналов…
…а через год, возможно, поеду я.
Пап, клянусь. Это — блестящая возможность. Это — мой…
Мой шанс. Это…
…моя начальница.
Прости, папа. Я должна ответить.
— Алло, Миранда?
— Мой рейс отменили.
Какая-то нелепая проблема с погодой.
Мне срочно нужно вернуться домой.
Завтра утром девочки выступают с концертом в школе.
— Good.
Hi. Um, I know this is totally last minute…
but I was hoping that you could maybe get a flight for my boss…
from Miami to New York tonight?
Uh-
— [Dad] It’s right here. Thank you.
— [Andy] Yeah, any kind ofjet.
— From Miami to New York.
— Thank you.
— Yup, I need it tonight. I need it- — Ow!
— I thought you were going out the other- — Sweetie! No.
— It’s over here, honey.
— Tonight.
Hi. I’m trying to get a flight tonight- for tonight- from Miami to New York.
Yes, I know there’s a hurricane.
Nothing is flying out?
What do you mean, nothing is flying out?
It’s for Miranda Priestly, and I know that she’s a client of yours.
Yes. Yes, hi. I need a jet tonight from Miami to New York.
Yeah. Sorry. Hold on.
Hello? Miranda, hi.
I’m trying to get you a flight, but no one is flying out because of the weather.
Please. It’s just- I don’t know- drizzling.
— [Thunderclap]
— Someone must be getting out.
Call Donatella. Get her jet.
Call everybody else that we know that has a jet. Irv?
— В школе.
— Попробую что-нибудь устроить.
— Хорошо.
Я понимаю, уже поздно…
…но вы не поможете мне купить для начальницы билет на сегодня…
…из Майами в Нью-Йорк?
— Да, любым самолетом.
— Здесь. Спасибо.
— Да, из Майами в Нью-Йорк.
— Благодарю.
Да, на сегодняшний вечер. Мне нужно…
— Я думала, ты выйдешь…
— Нет, это здесь, милая.
Здравствуйте, мне нужен билет на сегодня из Майами в Нью-Йорк.
Да, я знаю про ураган.
То есть как, все рейсы отменили?
Этого не может быть!
Это для Миранды Пристли.
Она — ваш клиент.
Она уже пользовалась вашими услугами. Да, здравствуйте.
Мне нужен билет на сегодня, на рейс из Майами в Нью-Йорк.
— Да. Не вешайте трубку.
— Что?
Алло? Миранда.
Я пытаюсь добыть вам билет, но все рейсы отменили из-за непогоды.
Бросьте. Тут просто слегка моросит.
Должны же летать какие-то самолеты.
Свяжитесь с Донателлой. С ее пилотом.
Get me home.
Oh, my God!
She’s going to murder me.
What does she want you to do, call the National Guard and have her airlifted out of there?
Of course not. Could I do that?
Come on.
Come on.
The girls’ recital was absolutely wonderful.
They played Rachmaninoff.
Everyone loved it.
Everyone except me…
because, sadly, I was not there.
Miranda, I’m so sorry.
Do you know why I hired you?
I always hire the same girl-
stylish, slender, of course…
worships the magazine.
But so often, they turn out to be-
I don’t know- disappointing and, um…
stupid.
So you, with that impressive résumé…
and the big speech about your so-called work ethic-
Выполняйте, в конце концов, это ваша работа.
Доставьте меня домой.
О, Боже мой. Миранда меня убьет.
Она что, хочет, чтобы ты доставила ее силами национальных войск?
— Ну конечно нет, а это возможно?
— Пойдем. Пойдем.
ЧИКАГО МЮЗИКЛ
Концерт у девочек прошел великолепно.
Они исполняли Рахманинова.
Все были в полном восторге.
Все, кроме меня, ведь меня, увы, там не было.
— Миранда, мне так жаль.
— Знаете, почему я вас взяла?
Я всегда беру одинаковых девушек.
Стройных, стильных, разумеется боготворящих этот журнал.
Но часто им не хватало…
…не знаю, способностей и…
…ума.
Вы, с таким приличным резюме…
…и громкими словами о серьезном отношении к работе…
I said to myself, go ahead.
Take a chance.
Hire the smart, fat girl.
[Clears Throat]
I had hope.
My God. I live on it.
Anyway, you ended up disappointing me more than, um-
more than any of the other silly girls.
Um, I really did everything I could think of.
— Uh- — That’s all.
Excuse me!
Where do you think you’re going?
Я сказала себе: «Попробуй.
Доверься толстой, умной девушке».
Я понадеялась.
Господи. Я живу надеждой.
В итоге вы разочаровали меня куда сильней, чем…
Куда сильней, чем любая из этих глупых девушек.
Я вправду сделала все, что зависело от меня.
Это все.
А ну-ка постой!
Ты куда это разбежалась?
And that’s my problem because-
Oh, wait. No, it’s not my problem.
I don’t know what else I can do because if I do something right, it’s unacknowledged.
She doesn’t even say thank you.
But if I do something wrong, she is vicious.
— So quit.
— What?
— Quit.
— Quit?
I can get another girl to take your job in five minutes- one who really wants it.
No, I don’t want to quit.
That’s not fair.
But, you know, I’m just saying that I would just like a little credit…
for the fact that I’m killing myself trying.
Andy, be serious.
You are not trying.
— You are whining.
— L-
What is it that you want me to say to you, huh?
Do you want me to say, «Poor you.
Miranda’s picking on you. Poor you. Poor Andy»?
Это меня касается, так как… Нет.
Стоп. Это меня не касается.
Я уже не знаю, что и придумать, ведь если я что-то делаю правильно…
…она не заметит и даже не скажет»спасибо».
Но я если я допускаю ошибку, она просто свирепствует.
Так уволься.
Что?
— Уволься.
— Уволиться?
Я найду другую девушку за пять минут.
Ту, которая хочет работать.
Нет, я не хочу увольняться.
Это несправедливо.
Но я не понимаю, неужели не видно…
…что я честно стараюсь изо всех сил на пределе своих способностей.
Энди, давайте серьезно.
Вы не стараетесь.
Вы ноете.
Что вы хотите от меня услышать, а?
Чтобы я вас пожалел?
«Злая Миранда к вам придирается…
She’s just doing herjob.
Don’t you know that you are working at the place…
that published some of the greatest artists of the century?
Halston, Lagerfeld, de la Renta.
And what they did, what they created…
was greater than art because you live your life in it.
Well, not you, obviously, but some people.
You think this is just a magazine, hmm?
This is not just a magazine.
This is a shining beacon of hope for-
oh, I don’t know-
let’s say a young boy growing up in Rhode Island with six brothers…
pretending to go to soccer practice when he was really going to sewing class…
and reading Runway under the covers at night with a flashlight.
You have no idea how many legends have walked these halls.
And what’s worse, you don’t care.
Because this place, where so many people would die to work…
you only deign to work.
Очнитесь, шестой размер.
Она просто делает свое дело.
А вы знаете, что попали в журнал…
…с которым сотрудничали величайшие мастера эпохи?
Холстон, Лагерфельд, Де Ла Рента.
А их работы, их творения — больше чем искусство.
Потому что вы в них живете.
Ну, не вы, допустим. А другие люди.
Вы думаете, это просто журнал? Нет, это не просто журнал.
Это сияющий светоч надежды…
Ну, не знаю.
Скажем, для мальчишки, который рос в Род-Айленде с шестью братьями…
…и вместо футбола тайком ходил на курсы кройки и шитья…
…а по ночам читал «Подиум» с фонариком под одеялом.
Вы не знаете, какие легендарные люди здесь бывали, и, что еще хуже…
…вас это не волнует. Ведь за эту должность…
…многие отдали бы все на свете, а вы до нее снизошли.
and give you a gold star on your homework at the end of the day.
Wake up, sweetheart.
[Sighs]
— Okay. So I’m screwing it up.
— Mmm.
I don’t want to.
I just wish that I knew what I could do to-
— [Sighs] Nigel?
— Hmm?
Nigel, Nigel.
No.
I don’t know what you expect me to do.
There’s nothing in this whole closet that’ll fit a size six.
I can guarantee you.
These are all sample sizes- two and four.
— All right. We’re doing this for you. And- — A poncho?
You’ll take what I give you and you’ll like it.
…и не выдает вам золотую звездочку под конец дня?
Опомнитесь, детка.
Согласна, я все делаю не так.
Но это не нарочно. Просто я теряюсь и не знаю…
Найджел? Найджел, Найджел.
Нет.
Не знаю, что мне с тобой делать.
Здесь нет одежды шестого размера, это я тебе гарантирую.
Это образцы — второй и четвертый размер.
Ладно, это тебе подойдет…
— И…
— Пончо?
— Hmm!
And shoes.
— Jimmy Choo’s.
— Hmm.
— Manolo Blahnik.
— Wow.
Nancy Gonzalez. Love that.
Okay, Narciso Rodriguez.
This we love.
— Uh, it might fit. It might.
— What?
Okay. Now, Chanel. You’re in desperate need of Chanel. Darling, shall we?
We have to get to the beauty department, and God knows how long that’s going to take.
[Groans]
I mean, I have no idea why Miranda hired her.
Me neither. The other day, we were in the beauty department.
She held up the Shu Uemura eyelash curler and said, «What is this?»
[Laughing]
I just knew from the moment I saw her…
she was going to be a complete and utter disas-
— [Phone Rings]
— Miranda Priestly’s office.
Еще платьице от Дольче.
И туфли…
Джимми Чу.
Маноло Бланик.
Нэнси Гонзалес, обожаю.
Нарсизо Родригес, красота.
— Возможно, впору. Возможно.
— Что?
Так, теперь — Шанель.
Необходима Шанель.
Идем, детка? Пойдем в отдел красоты…
…один Бог знает, сколько времени они на тебя угрохают.
Мне никак не понять, почему Миранда наняла ее.
Мне тоже. Позавчера мы были в отделе красоты…
…она взяла щипцы для ресниц Шу Уемуры и спрашивает:
«Что это»?
Когда только она вошла, я тут же поняла…
…что она не годится, бесповоротно и оконча…
Okay, thanks. Bye.
[Clears Throat]
How did- [Grunts]
— Are you wearing the- — The Chanel boots?
Yeah, I am.
You look good.
— Oh, God.
— What?
— She does.
— Oh, shut up, Serena.
— See you guys tomorrow.
— Good night, man. Take it easy.
Take care of that finger, huh?
So, what do you think?
Uh, I think we better get out of here…
Нет, сейчас она занята, но я ей передам.
Хорошо, всего доброго.
Как ты…?
— Это у тебя что, Ша…
— Сапоги от Шанель?
Да, да.
Хорошо выглядишь.
Что?
— А что? Не так?
— Ох, умолкни, Сирина.
— До завтра, ребята.
— Да, пока. Счастливо.
Перевяжи палец, ладно?
Ну…
…что скажешь?
[Woman Singing]
— [Continues]
— [Horn Honking]
[Continues]
[Cell Phone Rings]
— [Continues]
— The gowns are fabulous.
Mm-hmm.
We’re gonna use the burgundy.
Платья великолепны, Ральф.
Платье винного цвета…
So we spent a whole semester on potatoes alone.
You take the fry and squeeze it.
— See how firm that is?
— Hey. Oh, I’m so sorry I’m late.
There was a crisis in the accessories department.
— I needed to find a python headband.
— Python’s hot right now.
I have exciting presents for all of you.
Are you ready?
— What is that?
— It’s a Bang & Olufsen phone.
Charlie Rose sent it to Miranda for her birthday.
I looked it up on line.
It’s $1,100.
— What?
— Wow!
And I have some products.
Mason Pearson hairbrushes.
— A little Clinique.
— Ooh!
— Oh, damn it. I love your job.
— Oh! One more.
— A little thing.
— [Gasps]
— Do you want it? You want- Oh.
— Gimme! Gimme, gimme, gimme!
— I think she likes it.
— Oh, my God! This is the new MarcJacobs!
У нас целый семестр был посвящен только картошке.
Сожми-ка. Видишь, какая крепкая?
Привет. Простите, что опоздала.
Кризис в отделе аксессуаров.
— Понадобилась повязка из питона.
— Питон сейчас в моде.
Я для всех вас принесла чудесные подарки.
Вы готовы?
— Что это?
— Телефон фирмы «Бэнг-и-Олуфсен».
Чарли Роуз прислал его Миранде на день рождения.
Я посмотрела в Интернете цену — тысяча сто долларов.
— Сколько?
— Да.
И вот еще — щетки для волос от Мэйсона Пирсона.
А это — «Клиник».
Черт возьми, классная у тебя работа.
О, и — вот…
…пустячок.
— Хочешь такую?
— Дай, дай, дай!
— Вроде, ей нравится.
— О, Господи!
Where did you get this?
Miranda didn’t want it, so-
No, no, no, no, no. This bag is, like, $1,900.
I cannot take this from you.
— [Cackles]
— Yeah, you can.
— Why do women need so many bags?
— Shut up.
You have one. You put all your junk in it, and that’s it. You’re done.
Fashion is not about utility.
An accessory is merely a piece of iconography…
used to express individual identity.
— Oh! And it’s pretty.
— That too.
Yeah. But the thing is, it turns out there is more to Runway than just fancy purses.
Look, here’s an essay byJay Mclnerney, a piece byJoan Didion.
Even an interview with Christiane Amanpour.
— Looks like someone’s been drinking the Kool-Aid.
— What do you-
— [Cell Phone Ringing]
— I got it. It’s-Yup, the Dragon Lady.
— Oh, Miranda?
— Let me talk to her.
— I need that.
— I’ll tell her to get her own scrambled eggs.
Lily, no, no, no! Put that thing up!
I was gonna answer it!
It’s gonna make- Give me the… phone.
[Beeps]
Их все раскупили.
— Где ты ее нашла?
— Миранда от нее отказалась, так что…
Не-не-не-не. Она стоит тысячу девятьсот. Я не могу ее принять.
— Нет, можешь.
— Зачем женщинам столько сумок?
— Заткнись.
— Берешь одну. Складываешь вещи…
…и точка.
— Это ради моды, а не удобства.
Аксессуары — это часть символики…
…необходимой для самовыражения личности.
— И красоты.
— Верно.
Но в «Подиуме», оказывается, есть кое-что помимо шикарных сумок.
Смотрите. Вот эссе Джея Макинерни, статья Джоан Дидион…
…и даже интервью с Кристиан Аманпур.
Похоже, кое-кто обратился в новую веру.
О чем ты…?
— Это мой.
— Я возьму.
— Это… да, дьявол в юбке.
— Дай я с ней потолкую.
— Нет! Эй, дай сюда.
— Скажи, пусть сама за омлетом ходит.
Там же будет слышно! Будет слышно!
Дай телефон! Телефон.
— Hi, Miranda.
— Ooh. Shh.
— Absolutely.
— Shh!
— Uh-huh. I’m leaving right now.
You know, you guys didn’t have to be such assholes.
[Rings]
[Electronica]
[Woman Singing]
Um, excuse me.
I’m looking forJames Holt.
Um, that’s him right there.
— Oh. Thanks.
— No problem.
— I put my stuff out there, and I pray they improve.
— Really?
— Excuse me.
— Hi.
Обязательно.
Сейчас выезжаю.
Не знала, что вы такие свиньи.
Я ищу Джеймса Холта.
— Вот он, видите?
— Да, спасибо.
Не за что.
Я составляю каталоги, размещаю в них модели и надеюсь на одобрение.
I’m picking up for Miranda Priestly.
Oh, yes.
You must be the new Emily.
— [Chuckling]
— Nice to meet you.
— Oh, let me see that bag. Very, very nice.
— Ah.
Distressed, studded leather, pieced by hand, finished with a metallic fringe.
[Clicks Tongue] Very nice, indeed.
Who made that fantastic thing?
You.
Hmm. Duh. This way.
Uh, here we go.
It’s a sketch of Miranda’s dress for the benefit.
Also the centerpiece of my spring collection.
Top secret stuff.
— I’ll guard it with my life.
— Please do.
Come on.
You’re working for Miranda Priestly now.
You must be in desperate need of hard liquor.
Excuse us, girls.
She’ll have the punch.
[Clears Throat]
It’s deadly. Have fun.
[Man Singing]
О. Вы, видимо, новая Эмили.
— Да.
— Очень приятно.
Какая у вас сумочка.
Очень, очень мило.
Ручная работа, потертая кожа с блестками, кайма под металл.
Недурно, право.
Кто создал эту прелесть?
Вы.
Точно. Нам туда.
Вот здесь.
Эскиз наряда Миранды для банкета.
А также — гвоздь моей весенней коллекции. Сверхсекретные материалы.
— Буду хранить их как зеницу ока.
— Уж, пожалуйста.
Что ж, раз вы работаете у Миранды, значит, вам нужна выпивка покрепче.
Так, девушки.
Она будет пунш.
Валит с ног. Веселитесь.
— Hmm?
The punch.
I drank it atJames’s last party.
I woke up in Hoboken wearing nothing but a poncho and a cowboy hat.
— [Continues]
— Ah. Well.
— Wise.
— [Chuckling]
— Uh, hi.
— Christian Thompson.
Christian Thompson?
You’re kidding.
No, you’re-You write for, like, every magazine I love.
I actually- I reviewed your collection of essays for my college newspaper.
Did you mention my good looks and my killer charm?
— No, but- — What do you do?
Oh. Well, I want to work for somewhere like The New Yorker or Vanity Fair.
— I am a writer too.
— Is that right?
— Mm-hmm.
— I should read your stuff.
Why don’t you send it over?
Yeah?
That would be-Thank you.
That would be great. [Giggling]
But actually, right now, I’m working as Miranda Priestly’s assistant.
Oh, you’re kidding.
Well, that’s too bad.
That’s-Whoa.
You’ll never survive Miranda.
Пунш.
Я пил его как-то на вечеринке у Джеймса. Очнулся за городом…
…в одном пончо и ковбойской шляпе.
Ну, ладно.
Разумно.
— Здравствуйте.
— Кристиан Томсон.
Кристиан Томсон?
Шутите.
Нет, вы же сотрудничаете с моими любимыми журналами.
Я даже опубликовала очерк о ваших эссе в университетской газете.
А вы упомянули, что я симпатичный?
— Нет. Но…
— Чем занимаетесь?
Я хотела бы работать в таком журнале как «Нью Йоркер» или «Вэнити Фэр».
— Я тоже пишу.
— Правда?
Так, может, пришлете что-нибудь почитать?
Да?
Спасибо… Это было бы чудесно.
Но сейчас я работаю ассистенткой у Миранды Пристли.
Серьезно? Мне очень жаль.
— Well, you seem nice, smart.
You can’t do that job.
Gotta go.
Okay.
Well, it was very, very nice to meet you, Miranda girl.
Emily?
Call James Holt’s office. Tell them I want to move the preview up to today at 12:30.
Tell everybody else.
Be ready to leave in half an hour.
But we’re not expected until Tuesday.
Did she say why?
Yes. Yeah, she explained every detail of her decision making.
And then we brushed each other’s hair and gabbed about American Idol.
— Простите?
— Ну, похоже, вы славная, умная.
Вам нельзя там работать.
Я пойду.
Ладно, приятно было познакомиться, девушка Миранды.
Эмили?
Свяжитесь с Джеймсом Холтом, предварительный просмотр сегодня…
…в полпервого. Сообщите всем: Мы должны выехать через полчаса.
Нас там не ждали раньше вторника.
— Она сказала, почему?
— Да. Она подробно объяснила…
…как пришла к этой мысли.
Потом мы поболтали о косметике…
— [Andy] What’s a preview anyway?
— Good morning, Miranda.
[Nigel] Miranda insists upon seeing all the designers’collections…
before they show them.
— Great to see you.
— Hello, James.
— [Andy] And she tells them what she thinks?
— [Nigel] In her way.
Uh, this season really began for me with a meditation…
on the intersection between East and West.
[Nigel] There’s a scale.
One nod is good. Two nods is very good.
There’s only been one actual smile on record, and that was Tom Ford in 2001.
An obi belt.
[Nigel]
She doesn’t like it, she shakes her head.
This is the dress that we have designed specifically and exclusively for you.
[Nigel] Then, of course, there’s the pursing of the lips.
[Andy]
Which means?
[Nigel]
Catastrophe.
[Whispers]
Just, uh-Just go.
— I just don’t understand. I’m appalled.
— It’s absurd. Appalled.
— You deal with it.
— I’ll talk to him.
So because she pursed her lips, he’s gonna change his entire collection?
— Неплохо сказано.
— Что за предварительный просмотр?
— Доброе утро, Миранда.
Все дизайнеры представляют Миранде свои коллекции до начала показов.
— Рад вас видеть.
— Привет.
— И она высказывает мнение?
— Своеобразным способом.
Этот сезон начался для меня с размышлений…
…о том, где запад сходится с востоком.
Есть система. Один кивок — хорошо.
Два — очень хорошо.
За всю историю улыбки удостоился лишь Том Форд в 2001 году.
Пояс Оби.
Если ей не нравится, она качает головой.
Это платье мы создали специально и только для вас.
Иногда она поджимает губы.
Что это значит?
Катастрофа.
Уйди. Уходи.
— Я знаю.
— Я просто потрясена. Это чудовищно.
— Какая нелепость. Я поговорю с ним.
— Разберитесь.
Her opinion is the only one that matters.
— Call my husband and confirm dinner.
— At Pastis? Done.
And I’ll need a change of clothes.
Well, I’ve already messengered your outfit over to the shoot.
Fine. And, Andrea, I would like you to deliver the Book to my home tonight.
— Have Emily give you the key.
— Mm-hmm.
— Guard this with your life.
— Of course.
You know, if I can deliver the Book, that means I must have done something right.
I’m not a psycho.
Oh, and, you know, she called me Andrea?
I mean, she didn’t call me Emily, which is- Isn’t that great?
Yeah, whoopee. Right.
Now, it’s very important that you do exactly what I’m about to tell you.
Oh. Okay.
[Emily]
The Book is assembled by 10:00, 10:30…
Ты еще не поняла?
Все полностью зависит от ее мнения.
— Позвоните моему мужу насчет обеда…
— В «Пастис»? Уже звонила.
И я должна сменить одежду.
Да, я уже отправила вашу одежду с посыльным.
Хорошо. И, Эндреа, сегодня я попрошу вас доставить Книгу мне на дом.
Эмили даст вам ключ.
— Не вздумай потерять.
— Ладно.
Если мне поручили доставку Книги, значит, я хоть чего-то да стою.
Я не псих.
И она назвала меня «Эндреа»!
То есть, не «Эмили». Правда, здорово?
Да, классно.
Теперь: Самое главное, чтобы ты все делала так, как я тебе скажу.
Ладно.
Монтаж книги заканчивается около десяти — десяти тридцати…
You will be delivering Miranda’s dry cleaning with the Book.
Now, the car will take you straight to Miranda’s townhouse.
You let yourself in.
Andrea. You do not talk to anyone.
Do not look at anyone.
This is of the utmost importance.
You must be invisible.
— Do you understand?
— Uh-huh.
You open the door and you walk across the foyer.
You hang the dry cleaning in the closet across from the staircase.
— Uh- — And you leave the Book on the table with the flowers.
[Panting]
— Shit!
— [Girl] It’s that door to the left.
Помимо Книги ты повезешь Миранде вещи из химчистки.
Водитель доставит тебя прямо к ее дому.
Ты откроешь дверь ключом.
Эндреа? Только ни с кем не говори, ни на кого не смотри.
Ты должна быть невидимкой.
Это крайне важно. Ты поняла?
Ты откроешь дверь и тихо войдешь в вестибюль.
Вещи из химчистки повесишь в шкаф напротив лестницы.
А Книгу оставишь на столике с цветами.
— Черт.
— Вон та дверь слева.
[Whispers]
Thank you.
— You can give the Book to us.
— Shh. Which-Which table?
— It’s okay. Come on up.
— No, I can’t. I can’t.
— What? It’s okay.
— Come on.
— Yeah, come on. It’s okay.
— Please stop talking.
Or you can bring the Book upstairs.
Emily does it all the time.
She does? Right.
She does, all the time.
Yeah? Okay.
[Giggling]
[Miranda] What did you expect me to do, walk out in the middle of a cover shoot?
[Man] I rushed out of an investment committee meeting…
and I sat there waiting for you for almost an hour.
I told you the cell phones didn’t work.
Nobody could get a signal out.
[Man] I knew what everyone in that restaurant was thinking-
there he is, waiting for her again.
Спасибо.
Ты можешь отдать Книгу нам.
— Который? Который стол?
— Не бойся. Иди к нам.
— Нет, нет, мне нельзя. Нельзя.
— Почему? Можно. Давай.
— Иди к нам. Не бойся.
— Прошу вас, потише.
Или можешь отнести ее наверх.
Эмили часто так делает.
Правда? Да. Точно. Все время.
Да? Ладно.
А что я должна была сделать? Уйти посреди съемок фото для обложки?
Я ушел с заседания совета инвесторов.
— И сидел там, дожидаясь тебя.
— Я же сказала: Сотовые…
…не работали. Там ни у кого не было сигнала.
И представлял, что думали все, кто был в ресторане:
«Вот он, опять сидит и ждет ее».
— Oh, no. Shh!
It really wasn’t that big a deal.
I promise.
The twins said hello, so I said hello back.
— Then I went up the stairs to give her the Book and- — You went upstairs?
Oh, my God. Why didn’t you just climb into bed with her and ask for a bedtime story?
Okay, I made a mistake. I know.
Andrea, you don’t understand.
If you get fired, that might jeopardize Paris for me.
If that happens, I will search every Blimpie’s in the tristate area until I track you down.
She’s gonna fire me?
I don’t know. She’s not happy.
[Miranda]
Andrea?
[Snaps Fingers]
Послушай. Ничего страшного не случилось. Поверь.
Там были двойняшки, я поздоровалась, а потом…
…пошла наверх, чтобы отдать ей Книгу…
Ты пошла наверх? О, Боже мой.
Ты бы еще улеглась в ее постель и попросила рассказать на ночь сказку!
Ладно. Я допустила ошибку. Понимаю.
Эндреа, ты не понимаешь.
Если тебя уволят, моя поездка в Париж может сорваться. Если так будет…
…я обшарю все фаст-фуды в Нью-Йорке, но до тебя доберусь.
Постой. Она уволит меня?
Откуда я знаю?
Она недовольна.
Эндреа.
I need the new Harry Potter book for the twins.
Okay. Okay. I’ll go down to Barnes & Noble right now.
Did you fall down and smack your little head on the pavement?
Not that I can recall.
We have all the published Harry Potter books.
The twins want to know what happens next.
You want the unpublished manuscript?
We know everyone in publishing.
It shouldn’t be a problem, should it?
And you can do anything, right?
[Cell Phone Rings]
Yes, Bobbsey. I know, baby.
Mommy’s working very hard to get it for you.
She doesn’t get it.
I could call frickin’J.K. Rowling herself.
I’m not gonna get a copy of that book.
My girls are leaving on the train for their grandmother’s at 4:00…
so the book better be here no later than 3:00.
— Девочкам нужна новая книга…
…про Гарри Поттера.
Хорошо. Хорошо. Я съезжу в книжный магазин.
Вы упали и стукнулись головой об асфальт?
— Я такого не припомню.
— У нас есть все опубликованные книги.
Им хочется узнать, что было дальше.
Вам нужна неопубликованная рукопись?
У нас колоссальные связи с издательствами, разве это проблема?
А вы и не то можете, верно?
Да, пупсик?
Знаю, милая. Мамочка постарается ее раздобыть.
Вот это да! И что, я должна звонить самой Джоан Роулинг?
Где я возьму книгу?
Дети едут к бабушке, поезд в 4, книга должна быть здесь не позднее трех.
— And I would like my steak here in 15 minutes.
No problem!
[Panting]
Okay. I have four hours to get the impossible manuscript.
Smith & Wollensky’s doesn’t open until 11:30.
How am I gonna get the steak?
Okay. I will be back in 15 minutes.
— Wish me luck!
— No. Shan’t.
Yes, yes, yes, yes. I’ve been on hold.
It’s for Miranda Priestly.
It’s very important.
Yes, I know it’s impossible to get…
but, well, I was wondering if you could make the impossible possible…
if that’s at all possible.
[Laughing]
Yes, I’m calling about the Harry Potter manuscript.
Uh, no. Unpublished.
Not a chance?
Tell her that it’s for Miranda Priestly.
‘Cause I think it makes a difference.
Let me call you back.
You probably don’t remember me.
We met atJames Holt’s party.
— И подайте мне бифштекс…
…через пятнадцать минут.
Непременно.
Так, я должна за четыре часа раздобыть недосягаемую рукопись.
«Смит и Волленски» откроется только в полдвенадцатого.
А как же бифштекс?
Я вернусь через пятнадцать минут. Пожелай удачи.
Нет, не пожелаю.
Да, да, я ждала ответа.
Это для Миранды Пристли.
Это крайне важно.
Да, я знаю. Знаю, ее никак не раздобыть, но…
…может быть, вы смогли бы сделать невозможное, если это возможно?
Здравствуйте, мне нужна рукопись романа про Гарри Поттера.
Нет. Неопубликованного.
Никак? А вы не могли бы ей сказать, что это для Миранды Пристли?
Мне кажется, это имеет важное значение.
ШЕКСПИР НА СТОЯНКЕ Кристиан Томсон
Я вам перезвоню.
Здравствуйте. Вы меня не помните?
The Harry Potter manuscript?
Oh, you’re kidding.
Uh, sorry to ask, but I’m desperate.
Just tell her it can’t be done.
You’ll have to come up with a Plan «B.»
Well, this is Miranda Priestly we’re talking about.
There is no Plan «B.» There’s only Plan «A.»
Is she back? Am I fired?
I rarely say this to people who aren’t me…
but you have got to calm down.
Bloody hell!
Coat, bag.
What’s that? Oh, I don’t want that.
I’m having lunch with Irv.
I’ll be back at 3:00.
I’d like my Starbucks waiting.
Oh, and if you don’t have that Harry Potter book by then…
don’t even bother coming back.
Я — ассистентка Миранды Пристли.
Рукопись книги про Гарри Поттера? Вы шутите.
Мне очень неловко. Но я в отчаянии.
Скажите ей, что это невозможно.
Пустите в ход запасной план.
Речь идет о Миранде Пристли.
Запасной план здесь не сработает.
Она вернулась? Меня уволили?
Слушай, я редко говорю это кому-либо кроме самой себя…
…но тебе необходимо успокоиться.
Достала.
Пальто, сумку.
Что это?
Мне это не нужно.
Я иду на ланч с Ирвом. Вернусь в три.
Подадите кофе из Старбакс.
А если вы до тех пор не раздобудете мне книгу…
…можете сюда больше не возвращаться.
Hello.
Quit? Are you sure?
I failed.
She’s gonna fire me anyway.
— I might as well beat her to the punch.
— Wow.
Andy, good for you.
Congratulations. You’re free.
— Yeah. Well, listen, I’ll call you later.
— Okay.
— [Line Clicks, Phone Rings]
— Hello.
I’m brilliant. No, really.
— Monuments should be erected in my honor.
— You didn’t.
Oh, yes. A friend of a friend does the cover art…
and she happens to have the manuscript.
Oh, no, ’cause that would mean that I actually did something right.
[Chuckles]
It’s just- Oh!
The thing is, Christian, I was just-
Look, you want this thing, you better hurry.
I’ll meet you at the St. Regis.
Уходишь? Это точно?
Она все равно меня уволит.
Уж лучше я сделаю это сама.
Энди, это к лучшему.
Поздравляю, ты свободна.
— Ну все, я потом позвоню.
— Ладно.
— Алло?
— Я — гений. Нет, правда.
Вы должны поставить мне памятник.
— Не может быть.
— Может.
Одна моя подруга оформляет обложку, и у нее есть копия рукописи.
А ведь это значит, что я хоть с чем-то справилась.
Только…
Знаете, Кристиан, я решила…
Спешите, если она вам нужна.
Я буду в Сент-Риджисе.
— [Horn Honks]
— Welcome to the St. Regis.
May I assist you with anything?
— Oh. Yes.
— Uh, I’m meeting someone at the King Cole Bar.
— Right this way.
Hi.
— You have one hour.
— Thank you.
One copy. What are my twins gonna do with that? Share?
Oh, no, I made two copies…
and had them covered, reset and bound so that they wouldn’t look like manuscripts.
This is an extra copy to have on file.
You know, just in case.
Well, where are these fabulous copies?
I don’t see them anywhere.
[Whistle Blows]
[Andy] They’re with the twins, on the train on the way to Grandma’s.
Сент-Риджис
Добро пожаловать в Сент-Риджис. Я могу помочь?
Да, у меня встреча в баре.
Прошу сюда.
— У вас на все есть час.
— Спасибо.
Один экземпляр. И как девочки должны его читать? По очереди?
Нет, я сделала две копии, переплела…
…и поместила в обложку, чтобы они не выглядели как рукопись.
А это — запасная, на всякий случай.
И где же эти восхитительные копии? Что-то я их не вижу.
У двойняшек, они читают их в поезде.
Mm-mmm. That’s all.
Okay.
[Door Opens]
— Hey.
— Hey. I went to Dean & Deluca.
Man, they charge, like, five dollars a strawberry there.
But I figure since you quit your job…
we should celebrate.
— Listen, Nate.
— Wait a minute.
You quit your job, but you’re still working on the twins’ science project?
Well, that’s big of you.
Okay, after we talked, I realized…
it doesn’t make sense throwing away all those months ofhard work.
I just had a moment of weakness, that’s all.
Это все.
Хорошо.
— Привет.
— Привет. Я зашел в «Дин и Делука».
Ох, цены там, одна клубничина — пять долларов, но я решил…
…раз ты уволилась…
…это надо отпраздновать.
Знаешь, Нэйт…
Погоди, ты уволилась, но делаешь за двойняшек домашнее задание?
— Ты очень добра.
— Слушай, я подумала…
…что будет жалко, если несколько месяцев упорного труда пропадут зря.
All right. Whatever. It’s your job.
Nate.
Come on.
I’m still the same person I was.
I still want the same things. Okay?
— Mm-hmm.
— I promise. Same Andy, better clothes.
— [Giggles]
— I like the old clothes.
Really?
Well, what about these necklaces?
Do you like them?
No? And this dress, it’s new.
Eh.
Well, there is one other thing that’s new…
that I thought you might like.
But, uh-What about this?
You don’t like it.
I should better do-
No, no, no, no.
А может, у тебя просто дерьмовая работа и начальница с приветом.
Ладно.
Как знаешь. Это твоя работа.
Нэйт.
Перестань.
Я точно такая же, как прежде.
У меня те же цели.
Честно. Та же Энди.
Только одежки получше.
А мне нравились прежние.
Неужели?
Тебе нравятся эти украшения?
А это платье? Оно новое.
Ну, есть еще кое-что новое…
…я хотела тебя порадовать, но…
Как тебе это?
Не нравится, пойду делать за двойняшек…
[Ends]
Is this number two look?
This is number two?
— Hi.
— Hi. All right. Turn around for me, darling.
Oh, I get it. I get it. I get it.
The piece is called «urban jungle,»right?
Yes, the modern woman unleashes the animal within to take on the big city.
[Growls]
Good. Go.
[Sighs] Sometimes I can’t believe I talk about this crap all day.
— Bobby, come here. Let me see.
— Oh, thank you.
— Make sure Miranda gets these as soon as possible.
— Mm-hmm.
And tell her I switched in the Dior for the Rocha.
— Oh, great. Can’t wait.
— Excuse me.
— Can we adjust the attitude?
— I’m sorry.
— Don’t make me feed you to one of the models.
— I’m sorry.
It’s a busy day.
Второй вариант?
— Привет.
— Привет. Теперь повернись ко мне.
О, все ясно. Это — проект «городские джунгли», так?
Да, современная женщина дает волю звериной натуре…
…и выходит в большой город.
Ну все, иди.
Сам ужасаюсь, какую чушь приходится нести. Бобби, подойди.
— Спасибо.
— Доставь их Миранде…
…как можно скорей. И скажи, что я взял Роша вместо Диора.
Отлично, она будет рада.
— Нельзя ли сменить тон?
— Ой, простите.
А то скормлю кому-нибудь из моделей.
Join the club. That’s what happens when you start doing well at work, darling.
Let me know when your whole life goes up in smoke.
That means it’s time for a promotion.
No. All right, February, back of the issue.
Did anybody speak with Salma’s people yet?
Yes, but she’d rather do a summer cover because she has a movie coming out.
No. Also, I’m pulling the Toobin piece on the Supreme Court women-
woman.
And I need to see a new draft on that piece…
about shopping for a plastic surgeon- It’s dull.
And this layout for the Winter Wonderland spread.
Not wonderful yet.
Oh, okay. L-I’ll look at it.
What about Testino?
Where are we on that?
Zac Posen’s doing some very sculptural suits.
So I suggested that, uh, Testino shoot them at the Noguchi Garden.
Perfect.
Thank God somebody came to work today.
И моя личная жизнь висит на волоске.
Так оно и бывает, когда начинаешь делать успехи на работе, дорогая.
Сообщи, когда все вообще пойдет прахом.
Это верная примета: К повышению.
Нет. Так, февральский.
Задняя обложка.
Кто-нибудь уже говорил с агентами Сельмы?
Да, но она предпочла бы сняться для одного из летних номеров, потому что…
Нет. И я не возьму статью о женщинах в составе верховного суда.
Женщине. И мне нужен новый черновик статьи о поиске…
…пластического хирурга. Нынешний вариант скучен.
А этот проект разворота «Сказочная зима»…
Недостаточно сказочен.
— Хорошо, я этим займусь.
— А что с Тестино?
— На какой мы стадии?
— Зак Позен…
…создал серию костюмов скульптурного плана, и я предложил…
…Тестино снять их в саду Ногучи.
Прекрасно.
One thought I had was enamel.
Um, bangles, pendants, earrings.
No. We did that two years ago.
What else?
Um, well, they’re showing a lot of florals right now, so I was thinking-
Florals? For spring? Groundbreaking.
But we thought about shooting them in an industrial space.
We thought the contrast between the femininity of the florals…
and the more raw, rough-hewn background would create this wonderful tension between-
— No.
— Which?
— No.
— Which?
— [Emily Coughing]
— No.
[Coughing Continues]
Does anybody else have anything I can possibly use?
Antibacterial wipes perhaps?
[Groans]
— How’s the cold doing?
— Like death warmed up actually.
[Sniffles]
Oh, God.
It’s the benefit tonight.
I’ve been looking forward to it for months.
I refuse to be sick.
I’m wearing Valentino, for crying out loud.
А что с аксессуарами для апрельского?
У нас есть изделия из эмали: Браслеты, кулоны, серьги…
Нет, это было два года назад. Что еще?
Дизайнеры предлагают украшения в форме цветов, и я думаю, что…
Цветы? Для весеннего номера?
Оригинально.
Но мы планировали снять их на фоне индустриального пейзажа. Тогда…
…контраст между женственными украшениями и грубоватым фоном…
…позволит замечательно…
— Нет.
Что…
Никто не может предложить мне что-нибудь полезное?
Антибактериальные салфетки, например?
— Как себя чувствуешь?
— Хуже просто некуда, если честно.
О, Боже. Сегодня благотворительный банкет. Я столько к нему готовилась.
so I suggest you go and drop Miranda’s Fendi bag off at the showroom…
and then I suppose you can just go home.
Yeah? Oh, well, that is great.
Perfect actually.
I need to get to Magnolia Bakery before it closes.
It’s Nate’s birthday tonight.
So we’re, uh, having a little party for him.
Yeah, I’m hearing this, and I wanna hear this.
Bye.
I love my job.
I love my job. I love my job.
[Chattering]
[Cell Phone Rings]
Hello?
Before the benefit tonight, I need to make sure…
that you’re both fully prepped on the guest list.
But I thought that only the first assistant went to the benefit.
Я иду на него в платье от Валентино.
Так, скоро все уйдут, чтобы успеть подготовиться…
…так что ты можешь занести сумку Миранды в выставочный зал…
…а потом отправиться домой.
Да? Надо же. Как здорово.
Просто чудесно. Я должна успеть в кондитерскую до закрытия.
У Нэйта сегодня день рождения.
И мы будем его праздновать…
Ничего не хочу слышать.
Пока.
Я люблю свою работу, я люблю свою работу, я люблю свою работу.
Алло?
Сегодня благотворительный банкет.
Необходимо, чтобы вы обе…
…знали в лицо всех приглашенных.
Я думала, что только старшая ассистентка пойдет на банкет.
an incubus of viral plague.
You’ll come and help Emily.
— That’s all.
— Right.
These are all of the guests.
Miranda invites everyone.
We have to make sure that they all think she knows exactly who they are.
And I’ve been studying for weeks.
I have to learn all these by tonight?
No, don’t be silly, Andrea.
These too.
Look, you better just start without me, okay?
I’ll get there as soon as I can.
Andy, come on, it’s his birth-
Okay, but hurry.
Oh, please, believe me, I will.
This is the last thing that I wanna-
Ooh, I love that. Uh, I’ll call you the second I’m leaving, okay?
— Will that fit me?
— Oh, yeah.
A little Crisco and some fishing line, and we’re in business.
[Sarcastic Chuckle]
[Woman Singing]
…разносчиком вирусной инфекции.
Будете помогать Эмили.
Это все.
Вот. Здесь все, кто приглашен.
Необходимо, чтобы каждый из них поверил…
…будто Миранда прекрасно знает, кто он такой.
И я готовилась не одну неделю.
— Это надо выучить до вечера?
— Не говори глупостей. И это тоже.
Слушай, вы уж начните без меня, а я подъеду, ладно?
Энди, ты что, у него день…
Ладно, но поспеши.
Поспешу, уж поверь.
Я вовсе не хочу, чтобы…
Как красиво. Все, звякну, когда буду выходить, ладно?
— Оно на меня налезет?
— О, да.
Намажешься мылом, и все будет в полном ажуре.
I mean, really, this is the social event of the season.
[Continues]
Oh, oh, my God.
Andy, you look so chic.
Oh, thanks, Em. You look so thin.
— Do I?
— Yeah.
Oh, it’s for Paris.
I’m on this new diet.
It’s very effective.
Well, I don’t eat anything.
And then when I feel like I’m about to faint, I eat a cube of cheese.
— Well, it’s definitely working.
— I know.
I’m just one stomach flu away from my goal weight.
Да ничего, в общем-то.
То есть, нет, конечно…
…это ведущее событие сезона и…
О, Боже мой. Энди, ты так шикарна.
Спасибо, а ты так похудела.
— Правда?
— Да.
Все это ради Парижа. У меня новая диета. Очень эффективная.
Я вообще ничего не ем, а когда чувствую, что упаду в обморок…
…грызу кусочек сыра.
— Она явно действует.
Да, еще пара приступов гастрита, и я буду у цели.
[Ends]
That’s John Folger, the new artistic director of the Chelsea Rep.
— John, thanks for coming.
— Hey there.
— [John] Oh, thank you.
It’s always nice seeing you.
— Stop fidgeting.
I’m sorry. I’m so late.
Just deal with it.
You have to be here.
Emily, come here.
Isn’t thatJacqueline Follet from French Runway?
Oh, my God, and Miranda hates her.
She was supposed to arrive after Miranda left.
— I didn’t- Oh.
— Yeah.
— Miranda, fabulous event as always.
— You broughtJacqueline.
— Surprise.
— Quelle surprise.
Oh, wonderful. We’re so happy you were able to come to our little gathering.
— Джон.
— Здравствуйте.
— Спасибо, что пришли.
— Спасибо вам. Я всегда рад вас видеть.
Стой спокойно.
Кошмар. Я так опаздываю.
Ты не можешь уйти.
Возьми себя в руки.
Эмили. Смотри.
Это не Жаклин Фолле из французского «Подиума»?
О, Боже, Миранда ее ненавидит.
Она должна была появиться после ухода Миранды.
— Я не знала.
— Ну да.
Миранда. Чудесный банкет, как всегда.
Вы привели Жаклин.
I plan my whole year around this.
Well, we’re so grateful that you do.
— Ciao.
— Have you gotten my note?
Yes, I did.
We’ll discuss it on Wednesday.
— Yes, I agree. No business tonight.
— Not tonight.
— Enjoy.
— [Sniffles]
Em.
Oh, thanks. Thanks.
Oh, um- Oh, my God.
I just can’t remember what his name is.
I just saw his name this morning on the list.
It’s- Oh, I know this.
It’s something to do with-
Wait, he was- he was part of the- Oh, God, I know this. Um-
It’s Ambassador Franklin, and that’s the woman that he left his wife for, Rebecca.
— Rebecca. Ambassador.
— Miranda.
— You look fabulous.
— Oh, very kind.
— Thank you.
— [Chattering Continues]
Ну что вы. Я не могла пропустить такое событие.
Что ж, это, это очень любезно с вашей стороны.
— Чао.
— Вы получили мою записку?
Получил.
— Давайте обсудим это в среду.
— Я согласна.
— Сегодня — о делах ни слова.
— Да, не сегодня.
Наслаждайтесь.
— Эмили?
— Здорово. Спасибо.
О, Боже мой.
Не могу вспомнить, как его зовут.
Я же сегодня видела его имя в списке.
Я же знаю.
Сейчас, сейчас, он как-то связан с…
Постойте, он участвовал…
О Боже, я его знаю, это…
Это посол Фрэнклин.
И та женщина, к которой он ушел от жены, Ребекка.
Ребекка.
— Господин посол.
— Миранда, вы потрясающе выглядите.
— Hello.
You’re-You’re a vision.
— Oh. [Scoffs]
— Thank God I saved your job.
[Stammers, Chuckles] You know, I figured out a few things on my own too.
Turns out, I’m not as nice as you thought.
I hope not.
Well, if it weren’t for the stupid boyfriend…
I’d have to whisk you away right here and now.
— Do you actually say things like that to people?
— Evidently.
[Giggles]
Well, I gotta go.
Are you sure? ‘Cause my editor for New York Magazine is inside…
and, you know, I could introduce you two.
— You sent over your stuff for me to look at? Remember?
— Yeah.
All right, I gotta admit, I only read a couple.
It was a very large packet you sent.
— Yeah.
— But what I did read wasn’t half bad.
And, you know, I think- I think you have a talent, Andy.
— Спасибо.
Поздравляю с возвращением в цивилизацию.
Должно быть, вы вздохнули с облегчением.
— Надо же.
— Привет.
Вы дивно хороши.
Хорошо, что я тогда вас спас.
Знаете, я кое с чем и сама справилась.
Выходит, я не такая хорошая, как вы думали.
Надеюсь, что нет.
Если бы не ваш чертов парень…
…я бы немедленно вас соблазнил.
И вы осмеливаетесь мне такое сказать?
Как видите.
Ну, мне пора.
Вы уверены? Мой редактор из журнала «Нью-Йорк» сейчас там.
Я мог бы вас познакомить.
Вы прислали мне почитать свои работы. Я… Помните?
— Да.
— Я, признаться…
…только пару статей прочел, ведь вы прислали очень большой пакет.
Но то, что я прочел, написано неплохо.
Why don’t you come in?
Just for one drink.
Um, okay, yeah.
I guess I could for one-
No, I can’t.
I’m sorry, but I have to go.
All right.
Give my best to the boyfriend.
Roy, I’m sorry.
Can you go any faster?
I’m sure Nate will understand.
Yeah.
[TV, Indistinct]
Hey.
Happy birthday.
Nate, I’m so sorry.
— Вам надо познакомиться.
— Может, вернетесь ненадолго?
На пять минут.
Ладно, только если на пять…
Хотя нет. Не могу, извините.
Ладно. Передайте привет своему парню.
Рой, простите. А нельзя побыстрей?
Я уверен, что Нэйт поймет.
Да.
Привет.
С днем рождения.
And, you know, I didn’t have a choice.
Don’t worry about it.
[Grunts]
I’m gonna go to bed.
Can we at least talk about this?
You look really pretty.
Я все пыталась уйти, но мне никак не удавалось, и…
…пойми, у меня не было выбора.
Не бери в голову.
Пойду спать.
Не хочешь даже поговорить?
Ты изумительно выглядишь.
Andrea?
— Do you have the Book?
— Oh. Uh-
Mm.
Paris is the most important week of my entire year.
I need the best possible team with me.
That no longer includes Emily.
Wait. You want me to-
No, Miranda.
[Exhales]
Emily would die.
Her whole life is about Paris.
She hasn’t eaten in weeks.
L-I can’t… do that.
Книга у вас?
Парижская неделя, как вы понимаете, — важнейшее событие года.
Я беру с собой лучших сотрудников.
Эмили в их число больше не входит.
Вы хотите, чтобы я…?
Нет, Миранда. Эмили не перенесет.
Она только и мечтает о Париже.
Которую неделю ничего не ест…
If you don’t go, I’ll assume you’re not serious about your future…
at Runway or any other publication.
The decision’s yours.
That’s all.
[Woman Singing]
[Laughing]
[Continues]
Значит, вы несерьезно относитесь к своей карьере.
В «Подиуме» или любом другом журнале.
Решать вам.
— Но…
— Это все.
— Hey, Andy.
— Hey.
— You coming to bed anytime soon?
Uh, yeah. Five minutes, okay?
[Ends]
[Fax Printing]
— Привет.
Спать не собираешься?
Да, через пять минут, ладно?
Andrea, don’t forget to tell Emily.
Do it now.
— [Line Ringing]
— Don’t pick up.
— Don’t pick up. Don’t pick up. Don’t pick- — Hi.
— Emily.
— Hi, hi. Sorry I’m late.
It’s just Miranda wanted some scarves from Hermès.
And she did tell me yesterday, but I forgot like an idiot.
And so I freaked out, of course.
Emily, Emily, l-I need to talk to you.
Сейчас же.
Не бери трубку.
Не бери трубку, не бери трубку.
— Не бери…
— Привет.
— Эмили.
— Привет, прости, я опоздала.
Просто Миранде нужны шарфы от Эрмес.
Она говорила мне еще вчера.
А я забыла, как идиотка
— Ну и потом пришла в ужас.
— Эмили, мне надо сказать тебе кое-что.
She opened the shop early for me, so I got them, which is great.
Okay. Um, Emily, wh-when you come in…
there’s something I have to talk to you about.
— Well, I hope it’s not another Miranda problem.
— Not exactly.
Well, good, because I’ve got so much to deal with before I go. I swear to God-
— [Gasps]
— [Horn Honks, Tires Skid]
— [Clamoring]
— [Woman] Oh, my God!
Emily?
[Woman On P.A., Indistinct]
[Elevator Bell Dings]
I don’t care if she was gonna fire you or beat you with a red-hot poker!
You should have said no.
Emily, I didn’t have a choice.
— Oh. Please.
— You know how she is.
— That is a pathetic excuse.
— [Door Opens]
Thanks.
Do you know what really just…
gets me about this whole thing…
…открыла магазин пораньше ради меня, и я их забрала.
Эмили, когда ты придешь…
…нам надо будет кое о чем с тобой поговорить.
— Об очередной проблеме с Мирандой?
— Не совсем.
Ну, славно, а то мне надо переделать кучу дел перед отъездом.
Даже не знаю, как…
О, Боже!
Эмили?
Даже если она грозилась тебя уволить или пытать раскаленным утюгом…
…ты должна была сказать «нет».
Эмили, какой у меня был выбор?
Ты же ее знаешь.
Брось, это всего лишь нелепая отговорка.
Спасибо.
Знаешь, что меня просто бесит во всей этой дурацкой истории?
And you don’t really care about fashion.
You just wanna be a journalist.
What a pile of bollocks!
Emily, I know you’re mad.
I don’t blame you.
Face it, you sold your soul the day you put on that first pair ofJimmy Choo’s.
I saw it. And you know what really just kills me about this whole thing…
is the clothes that you’re gonna get.
I mean, you don’t deserve them.
You eat carbs, for Christ’s sake.
God, it’s so unfair!
— Emily.
— Just go.
— Emily, l- — I said go!
[Sighs]
— [Doug] You are going to Paris for the couture shows?
— [Andy] Mm-hmm.
— That’s the coolest fashion event of the year.
— Mm-hmm.
— I mean, who are you going to see, Galliano?
— Yeah.
…что мол тебе это все безразлично.
И к моде ты совсем равнодушна, ведь ты хочешь быть журналистом.
О, сплошное вранье!
Ты злишься на меня, я все понимаю.
Признайся, Энди, ты продала душу, когда надела туфли от Джимми Чу.
Я же видела. И знаешь, что в этой ситуации меня просто убивает?
Все наряды достанутся одной тебе, а ты этого не заслуживаешь, понятно?
Ты ешь углеводы, Господи помилуй!
Боже!
Несправедливо.
— Эмили…
— Уйди.
— Эмили, я…
— Я сказала, уйди.
Ты едешь в Париж на показ от кутюр?
Это самое крутое событие года в мире моды.
— Yep.
— Yes. Okay, now you’re scaring me.
— [Chuckles]
— Hey.
— Hey.
— This show is amazing. I am so proud of you.
— [Lily] Thank you.
Okay, start with the photos in the back and work your way forward.
That is the way I designed it.
It is brilliant.
— You will love it.
— Of course.
And you, I have somebody I want you to meet, okay?
Ooh, art and sex. Lead the way.
— See you later.
— Okay.
[Woman Singing]
— [Continues]
— Hey. Hey, Miranda girl.
— Hi.
— I was just thinking about you.
Oh, come on.
— It’s true.
— No.
I’m profiling Gaultier for Interview and, uh, making my Paris plans.
— Да.
— И Лагерфельда?
— Ага.
— И Николя Гескьера.
— Слушай, ты меня пугаешь.
— Привет.
— Привет.
Выставка изумительна.
Я очень тобой горжусь.
Спасибо.
Начни с фотографий в глубине зала и продвигайся к выходу.
Тебе понравится. Это я так гениально придумала.
— Конечно.
— А тебя…
…я хочу кое с кем познакомить.
Искусство и секс. Веди меня.
— Увидимся.
— Ладно.
Привет.
Эй, девушка Миранды.
Привет.
А я как раз думал о вас.
Ох, бросьте.
— Это правда.
— Нет.
Well, actually, um, I am going.
Great. I’m staying in a fantastic little hotel in the Seventh…
right across the street from the falafel restaurant that will change your life.
[Chuckles]
I’m sorry. I’ll be too busy working.
You’ll have to find someone else’s life to change.
Well, that’s just it.
I’m beginning to wonder if I can.
Lily.
Lily, he’s just a guy I know from work.
— Yeah, that looked like work.
— Look, you’re making a big deal out of-
You know, the Andy I know is madly in love with Nate…
Собираюсь поехать в Париж…
…вот и подумал, что может встречу вас там.
Собственно, я туда еду.
Отлично.
Я остановлюсь в центре, в маленьком чудном отеле.
А напротив него есть ресторан, который перевернет вашу жизнь.
Мне очень жаль, я буду занята работой.
Найдите другую девушку и переверните ее жизнь.
В том-то и дело.
Мне кажется, другой такой нет.
Лили.
Лили, я просто общаюсь с ним по работе.
— Да, оно и видно.
— Не делай из мухи слона…
Энди, которую я знаю, безумно любит Нэйта…
and thinks, I don’t know, Club Monaco is couture.
For the last 16 years, I’ve known everything about that Andy.
But this person? This «glamazon» who skulks around in corners…
with some random hot fashion guy?
I don’t get her.
— Lily.
— Have fun in Paris.
You going to Paris?
Uh, yeah. It just happened.
I thought Paris was a big deal for Emily or-
Great. Now you’re gonna give me a hard time too?
Hey, Andy. Andy!
— Andy, what the hell is wrong with you?
— L-I didn’t have a choice, okay?
— Miranda asked me, and I couldn’t say no.
— I know.
That’s your answer for everything lately, «I didn’t have a choice.»
— Like this job was forced on you.
— Nate, I get it, okay?
Like you don’t make these decisions yourself.
You’re mad because I work late all the time and I missed your birthday party.
— And I’m sorry.
— Oh, come on. What am I, four?
You-You hate Runway and Miranda.
и считает, что джинсы — это самая лучшая одежда.
В течение шестнадцати лет я знала все-все о той Энди.
Но кто эта персона?
Эта гламазонка, которая целуется по углам…
…с крутыми мужиками из мира моды?
Я ее не знаю.
— Лили.
— Счастливо погулять в Париже.
Ты едешь в Париж?
Да, так уж вышло.
Я думал, о Париже мечтала Эмили или…
Теперь еще и от тебя выслушивать?
Эй, Энди.
Энди!
— Энди, да что с тобой такое?
— У меня не было выбора.
— Миранда попросила, не могу отказать.
— Я знаю.
Это стало твоей вечной отговоркой.
Как будто ты сама ничего не решаешь, как будто тебе навязали эту работу.
Ты сердишься, потому что я поздно прихожу с работы…
…и опоздала на твой день рождения.
Ну, прости меня.
— Ох, да брось, что я, ребенок?
— Ты, ненавидишь «Подиум» и Миранду.
You’ve made that clear.
Andy, I make port wine reductions all day.
I’m not exactly in the Peace Corps.
You know, I wouldn’t care if you were out there pole dancing all night…
as long as you did it with a little integrity.
You used to say this was just a job.
You used to make fun of the Runway girls.
What happened?
Now you’ve become one of them.
— That’s absurd.
— That’s okay. That’s fine. Just own up to it.
And then we can stop pretending like we have anything in common anymore.
— You don’t mean that, do you?
— No, I do.
Well…
maybe this trip is coming at a good time.
Maybe we should take a break.
Nate?
[Cell Phone Ringing]
Энди, я готовлю целыми днями соусы и десерты.
А не покоряю мировые вершины.
Да работай ты где угодно, хоть в стриптиз-баре…
…только веди себя при этом честно.
Ты говорила: Это только на время.
Смеялась над девушками из «Подиума».
И что теперь? Ты стала такой же, как все они.
— Какая чепуха.
— Ничего. Так бывает.
Только признайся в этом.
И тогда незачем будет притворяться, что у нас еще есть что-то общее.
— Ты это не всерьез…
— Нет, всерьез.
Тогда, может, эта поездка как раз кстати.
Может, нам надо отдохнуть друг от друга.
Нэйт?
You know, in case you were wondering…
the person whose calls you always take, that’s the relationship you’re in.
I hope you two are very happy together.
[Cell Phone Continues Ringing]
Hello, Miranda.
[Man Singing]
[Continues]
Знаешь, как это ни прискорбно…
…но с той, на чьи звонки ты всегда отвечаешь…
…вы по-настоящему близки.
Желаю вам счастья в совместной жизни.
Алло, Миранда.
[Ends]
[Chattering]
Pardon. Miranda.
— [Speaking Italian]
— Maestro. Mmm.
How are you? So glad to see you.
Thank you for coming.
— You like the collection?
— Absolutely. I think it’s the best in years.
— This is very important for me.
Very, very important.
— I’m very happy for you.
— This is my new Emily.
— Hello. How do you do?
АДЗАРО
Миранда.
Как вы? Очень рад вас видеть. Спасибо, что пришли.
— Вам понравилась коллекция?
— Безусловно.
Для меня это очень важно.
Очень, очень важно.
— Nice to meet you.
You love the show?
— Miranda. This way!
— [Clamoring]
Miranda. Nigel.
Fashion’s great gatekeepers.
Miranda, what is Runway’s position on French fashion versus American fashion?
— I’ve been thinking- — Oh.
— You still owe me for Harry Potter.
— Oh, do I?
— Of course you do. Are you working tonight?
— Oh!
— No, actually Miranda has a dinner.
— Great, you’re free.
Oh, but there is the problem of le boyfriend.
Wait, don’t tell me.
The boyfriend non plus?
Je suis très, très desolé.
Oh, you’re so full of it.
You’re not desolé at all.
No, not even a little.
What time should I pick you up?
— Uh- — I’ll call you.
Yeah.
Здравствуйте. Как поживаете?
— Хорошо.
— Очень приятно.
— Очень приятно.
— Вам понравилось?
— Миранда! Посмотрите сюда.
— Сюда.
Миранда. Найджел.
Великие столпы моды.
Какова позиция «Подиума» в противостоянии…
…французской моды и американской?
Я тут подумал. Вы должны мне за Гарри Поттера.
— О, неужели?
— Ну, конечно.
Вы работаете вечером?
— Вообще-то Миранда идет в ресторан.
— Так вы свободны.
О, но есть ужасная проблема: Ле бойфренд.
Постойте, неужели вы с ним нон плю?
Вы жуткий врун. Вовсе вы не дезоле.
Да, нисколечко.
Во сколько за вами зайти?
Oh, there you are.
[Clears Throat]
We need to go over the seating, uh, chart for the luncheon.
Okay. Um, yeah, sure.
I have it right here.
By all means, move at a glacial pace.
You know how that thrills me.
Okay.
So…
first of all, we need to move Snoop Dogg to my table.
Кристиан, фото!
А, вот и вы.
Мы должны просмотреть план размещения гостей.
— На банкете.
— Хорошо. Да, конечно.
Он у меня здесь.
Конечно, двигайтесь как можно медленней.
Вы знаете, как я это люблю.
Хорошо. Итак…
Stephen isn’t coming.
Oh, Stephen is-
So I don’t need to fetch Stephen from the airport tomorrow?
Well, if you speak to him and he decides to rethink the divorce…
then, yes, fetch away.
You’re very fetching, so go fetch.
And then when we get back to New York, we need to contact, um…
Leslie to see what she can do to minimize the press…
on all this.
Another divorce…
splashed across page six.
I can just imagine what they’re gonna write about me.
The Dragon Lady, career-obsessed.
Но все места заняты.
Стивен не приедет.
О, Стивен не…
Мне ведь надо было захватить его с утра в аэропорту?
Ну, если после разговора с вами он отменит развод…
…тогда хватайте смело.
Вы такая прыткая, так что — вперед.
А когда мы возвратимся в Нью-Йорк, нужно будет связаться с Лесли…
…чтобы пресса не поднимала большой шумихи.
Еще один развод.
Пожива для светских хроникеров.
Живо представляю, что обо мне напишут:
Rupert Murdoch should cut me a check…
for all the papers I sell for him.
Anyway, I don’t-
I don’t really care what anybody writes about me.
But my- my girls, I just-
It’s just so unfair to the girls.
It’s just…
another disappointment…
another letdown, another father… figure-
[Chuckles]
Gone.
Anyway, the point is- [Clears Throat]
The point is- [Sighs]
The point is we really need to figure out where to place Donatella…
because she’s barely speaking to anyone.
От снежной королевы сбежал очередной мистер Пристли».
Издательства должны мне отчислять проценты: Я обеспечиваю продажи.
Ну ладно, меня…
Меня не волнует, что там напишут обо мне.
Но мои девочки, за что же им все это.
Да, очередное…
…разочарование.
Очередной обман. Очередной отец. Отчим.
Ушел.
Ну ладно. Главное…
Главное…
Главное — сейчас сообразить, куда посадить Донателлу…
…ведь она почти ни с кем не разговаривает.
If you want me to cancel your evening, I can.
Don’t be ridiculous.
Why would we do that?
Um, is-
Is there anything else I can do?
Your job.
That’s all.
[Knocking]
Hi. I need Miranda’s itinerary for tomorrow.
— Okay. Come on in.
— All right? Thanks.
Может, отменить вашу встречу в ресторане?
Не говорите глупостей.
С какой это стати?
Я могу еще что-нибудь сделать?
Свою работу.
Это все.
Привет.
Дай мне план Миранды на завтра.
— This?
Oh, it’s just- it’s just something I threw on.
Turn around. Let me see. Turn.
— Mm. Incroyable.
— Yeah?
— It’s really just- No, it’s- No, gorgeous.
— Yeah? Okay, good.
Really. I think that my work here is done.
Oh.
We’re going to celebrate.
I’m going to get some champagne.
Okay. What are we toasting?
We are toasting, my dear, to the dream job.
The one that a million girls wanted.
Which I got months ago.
I’m not talking about you.
Mm-hmm.
— James Holt- — Yeah.
Massimo Corteleoni…
is investing in James’s company and taking it global.
— Mm-hmm.
— Bags, shoes, fragrances- the works.
— Ага.
Кто тебе это подобрал?
А, это… Просто взяла и надела.
Ну-ка. Повернись. Дай взглянуть.
— Ну просто… Да… Да.
— Правда? Хорошо.
Роскошно. Что ж, похоже, я всему тебя научил.
Давай-ка выпьем.
Я принесу шампанского.
Ладно. За что будем пить?
Мы выпьем, дорогая, за великолепную должность.
За ту, о которой мечтали миллионы девушек.
На которую меня взяли.
А я не о тебе говорю.
— Джеймс Холт.
— Да.
Массимо Кортелеони инвестирует в расширение компании Джеймса.
And that partner would be me.
— Does Miranda- — No, no, Miranda knows, because-
— Oh.
— Oh, she put me up for it.
God, no. Can you imagine?
But- But- But you’re leaving.
— Mm-hmm.
— I can’t imagine Runway without you.
I know, I know, but I’m so excited though.
This is the first time in 18 years I’m going to be able to call the shots in my own life.
Oh, my God!
I’m going to be able to come to Paris and actually see Paris.
Well, congratulations.
— Huh? Oh.
— Nigel, you deserve it.
You bet your size-six ass.
[Guffaws]
— Four.
— Really?
— [Glasses Clink]
— Cheers.
— Cheers to you.
— To us.
А Джеймсу нужен партнер.
И этим партнером скоро буду я.
— А Миранда…?
— Нет, Миранда знает…
…она сама меня рекомендовала.
Боже, ты представляешь?
Но… Но… Но вы уходите.
— Не могу представить журнал без вас.
— Я знаю.
Но я так ужасно рад!
Впервые за восемнадцать лет…
…я смогу распоряжаться собственной жизнью.
О, Боже мой!
Я смогу приехать в Париж и по-настоящему его увидеть.
Что ж, поздравляю.
Найджел, вы это заслужили.
Верно, попка шестого размера.
— Четвертого.
— Правда?
— [Giggles]
[Woman Singing In French]
Okay, I just wanna say that yes, there are things Miranda does that I don’t agree with, but-
— Come on. You hate her. Just admit it to me.
— No.
She’s a- She’s a notorious sadist…
and not- not in a good way.
Okay, she’s tough, but if Miranda were a man…
no one would notice anything about her, except how great she is at her job.
[Chuckles]
I’m sorry. I can’t-
— I can’t believe this. You’re defending her?
— Yeah.
The wide-eyed girl peddling her earnest newspaper stories?
You, my friend, are crossing over to the dark side.
I resent that.
— You shouldn’t. It’s sexy.
— Sexy?
— Really?
— Really.
So do you- do you know where we’re going?
— И за тебя.
— За нас.
— Покажи-ка.
Я просто хочу сказать…
…я согласна далеко не со всем, что делает Миранда, это так, но…
Ох, брось, ты ее ненавидишь.
Ну, признайся.
— Нет.
— Она известная садистка.
И не с теми, кому это нравится.
Согласна, она сурова, но будь Миранда мужчиной…
…кругом говорили бы только о том, что она — мастер своего дела.
Прости, но я… Ушам своим не верю.
— Ты ее защищаешь?
— Да.
Наивная девушка, пишущая серьезные статьи для газет?
Ты, милая, перешла к темным силам.
Я не согласна.
— И правильно. Это сексуально.
— Сексуально?
— Правда?
— Правда.
— Yeah.
Yeah, don’t worry. I know this city like the back of my hand.
It’s my favorite place in the whole world.
You know, Gertrude Stein once said…
«America is my country, and Paris is my hometown.»
— [Laughs]
— It’s true.
What do you do?
Do you just write stuff like that down…
and then file it away to use on us girls?
— I’m Christian Thompson. That’s my way.
— That’s your way. Right.
I work freelance.
I have a lot of free time on my hands.
You know, I never understood…
why everyone was so crazy about Paris…
but… it is so beautiful.
[Giggles]
Mm. L-I can’t. I’m sorry.
I can’t. You know, Nate and I just split up a couple days ago, and I can’t.
Ooh. I’ve had too much wine.
— Да.
…я заблудилась.
Не беспокойся. Я знаю этот город как свои пять пальцев.
Люблю его больше всего на свете.
Как сказала Гертруда Стайн:
«Америка — моя страна, но Париж — мой родной город».
Это правда.
С ума сойти! Ты записываешь такие фразы…
…чтобы заучить их и потом цитировать девушкам?
Я — Кристиан Томсон.
Это мой стиль.
Твой стиль. Ага.
Я свободный художник.
И у меня очень много времени.
Знаешь, я никак не могла понять…
…почему все в таком восторге от Парижа.
Но теперь вижу — он прекрасен.
Извини. Не могу, не могу, я…
Мы с Нэйтом разошлись всего пару дней назад…
No, I barely know you.
I’m in a strange city.
I… am out of excuses.
Thank God.
[Groans]
И ум притупились.
Нет, мы едва знакомы.
Я в чужом городе.
Я исчерпала все отговорки.
Слава Богу.
Yes.
Oh, shoot.
[Door Opens]
Bonjour, madame.
Uh, what the hell is this?
What does it look like?
It’s a mock-up.
Yeah. Of?
Of what American Runway will look like when Jacqueline Follet is the new editor in chief.
Wh-They’re replacing Miranda?
Yeah. And she’s bringing me in to run all the editorial content.
You’re really surprised?
Jacqueline’s a lot younger than Miranda.
She has a fresher take on things.
Not to mention American Runway’s one of the most expensive books in the business.
ПОДИУМ ВЫСОКАЯ МОДА
Привет. Что это такое?
А ты как думаешь? Макет.
Да. Чего?
Того, каким будет американский «Подиум»…
…когда Жаклин Фолле станет его главным редактором.
Она займет пост Миранды?
Да. И отдаст в мое ведение содержание редакционных статей.
Что тебя удивляет?
Жаклин гораздо моложе Миранды.
К тому же ее идеи оригинальны.
Не говоря уже о том, что американский «Подиум» — один из самых дорогих…
And Irv- Irv’s a businessman, you know.
Miranda will be devastated. Her whole life is about Runway. He can’t do that to her.
It’s done. Irv’s gonna tell Miranda after the party forJames.
And she has no idea?
She’s a big girl. She’ll be fine.
Shi- I have to go.
Andy.
Andy, it’s done.
Baby, it’s done.
I’m not your baby.
— [Phone Ringing]
— Allo.
Oh! Oh! Thank God you’re there.
— [Sighs] Excuse me?
— I need to talk to you right away.
It’s aboutJacqueline Follet.
Shit! Oh, shit! Shit, shit, shit!
И Жаклин берет за ту же работу куда меньше денег.
А Ирв — бизнесмен, знаешь ли.
«Подиум» — главное в жизни Миранды.
Это страшный удар для нее.
— Он не должен так поступать.
— Уже поступил.
Ирв сообщит ей об этом после банкета в честь Джеймса.
А она об этом не знает?
Она — большая девочка, не пропадет.
Я пошла.
Энди. Энди, все уже решено.
Все решено, детка.
Я тебе не детка.
— Слава Богу, вы ответили.
— В чем дело?
Нам нужно срочно поговорить.
Это насчет Жаклин Фолле. Она…
Черт. О, черт. Черт, черт.
— Mr. Ravitz, I’m so sorry to bother you.
I was wondering-
Have you completely lost your mind?
— I need to talk to you.
— Do not disturb me again.
But, um, it’s just for one- Miranda!
[Horn Honks]
Miranda. Miranda.
Wait, I need to talk to you.
Irv is making Jacqueline Follet the editor in chief of Runway.
Christian Thompson told me he’s gonna work for her.
Irv is going to tell you today. I thought maybe if I told you, that you could fix it.
Do I smell freesias?
— Да?
— О, здравствуйте.
Мистер Рэвиц, прошу прощения за беспокойство, но я хотела…
Вы, я смотрю, вконец лишились ума!
Я должна сказать кое-что.
— Не смейте больше меня беспокоить.
— Но… Просто… Миранда!
Миранда?
Миранда. Я должна вам сказать.
Ирв решил назначить Жаклин Фолле главным редактором «Подиума».
Кристиан Томсон сказал, что будет у нее работать.
Ирв намерен сообщить вам сегодня, и я подумала, будет лучше, если я скажу.
L-I specifically told them-
If I see freesias anywhere…
I will be very disappointed.
For 72 years, Runway has been more than a magazine.
It has been a beacon of elegance and grace.
Miranda Priestly is the finest possible guardian of that beacon…
setting a standard that inspires people across the globe.
Ladies and gentlemen, I give you Miranda Priestly.
Thank you, my dear friend.
Bonjour.
[Chuckles]
— Что?
Нет. Я специально их предупредила, чтобы…
Если я где-нибудь увижу фрезии…
…я буду глубоко разочарована.
На протяжении семидесяти двух лет «Подиум» был не просто журналом.
Он всегда был оплотом элегантности и вкуса.
А Миранда Пристли — лучшим из хранителей его традиций.
Ее критерии служат вдохновением для жителей многих стран.
Дамы и господа. Перед вами — Миранда Пристли.
Спасибо вам, дорогой друг.
to help celebrate our dear friend, James Holt.
But before I talk to you aboutJames…
and his many accomplishments…
I would like first to share some news with you.
Um, as many of you know…
uh, recently Massimo Corteleoni…
has agreed to finance the expansion of theJames Holt label…
transforming the work of this visionary artist…
into a global brand, which is really an exciting enterprise.
Runway and James Holt share many things in common…
chief among them, a commitment to excellence.
And so, it should come as no surprise that when the time came…
…на это торжество в честь нашего друга Джеймса Холта.
Но прежде чем повести речь о Джеймсе и его высоких достижениях…
…я хотела бы поделиться с вами рядом новостей.
Как уже известно, недавно Массимо Кортелеони…
…согласился вложить средства в расширение лейбла «Джеймс Холт».
Чтобы работы этого гениального художника…
…стали международным брэндом, и это поистине замечательно.
«Подиум» и Джеймса Холта связывает многое.
И в первую очередь — стремление к совершенству.
Поэтому неудивительно…
he chose from within the Runway family.
And it’s my great happiness today…
to announce to you all that that person…
is my friend and longtime esteemed colleague…
Jacqueline Follet.
Thank you. Merci.
And now to the main event…
our celebration ofJames Holt.
компании «Джеймс Холт Интернэйшенл»…
…он выбрал его из семейного круга «Подиума».
И я бесконечно рада сообщить вам…
…что этот высокий пост займет мой друг…
…и всеми уважаемый сотрудник Жаклин Фолле.
А теперь перейдем к главному.
Чествованию Джеймса Холта.
When the time is right, she’ll pay me back.
You sure about that?
No.
But I hope for the best.
I have to.
[Clamoring]
You thought I didn’t know.
I’ve known what was happening for quite some time.
Itjust took me a little while to find a suitable alternative forJacqueline.
And thatJames Holtjob was so absurdly overpaid…
Придет время, и она мне за это заплатит.
Вы в этом уверены?
Нет.
Но я надеюсь на лучшее.
Мне приходится.
Вы думали, я не знаю?
Я узнала о том, что происходит, давным-давно.
Довольно быстро нашла для Жаклин другой подходящий пост.
А эта должность у Холта так до нелепости высоко оплачивается…
So I just had to tell Irv thatJacqueline was unavailable.
The truth is, there is no one that can do what I do…
including her.
Any of the other choices would have found that job impossible…
and the magazine would have suffered.
[Sighs]
Especially because of the list.
The list of designers, photographers…
editors, writers, models, all of whom were found by me, nurtured by me…
and have promised me they will follow me…
whenever and if ever I choose to leave Runway.
[Chuckles]
So he reconsidered.
But I was very, very impressed…
by how intently you tried to warn me.
I never thought I would say this, Andrea…
but I really-
Осталось лишь сообщить Ирву, что на Жаклин рассчитывать нечего.
На самом деле никому не под силу делать то, что я делаю.
Включая ее.
Эта задача оказалась бы невозможной для любого другого…
…и журнал понес бы урон.
Из-за списка в первую очередь.
Списка дизайнеров, фотографов, редакторов, авторов, моделей…
…всех, кого я обнаружила и взрастила…
…и кто поклялся, что последует за мной…
…если я когда-нибудь решу уйти из «Подиума».
Так что он пошел на попятную.
Меня глубоко поразило то, как упорно вы пытались предупредить меня.
Никогда не думала, что скажу это, Эндреа…
You can see beyond what people want and what they need…
and you can choose for yourself.
I don’t think I’m like that.
L-
I couldn’t do what you did to Nigel, Miranda.
I couldn’t do something like that.
Mm. You already did.
To Emily.
That’s not what l-
No, that was- that was different.
I didn’t have a choice.
Oh, no, you chose.
You chose to get ahead.
You want this life, those choices are necessary.
But what if this isn’t what I want?
Вы мыслите, выходя за рамки предложенного…
…и можете самостоятельно принимать решения.
По-моему, я не такая.
Я…
Я не смогла бы поступить так, как вы с Найджелом,
Вы уже так поступили.
С Эмили.
Я не могла…
Нет, это, это другое дело.
У меня не было выбора.
Нет, выбор был.
Вы выбрали карьеру.
Подобные решения необходимы, если у вас есть цель.
А что, если это не то, чего я хочу?
Don’t be ridiculous, Andrea.
Everybody wants this.
Everybody wants to be us.
[Clamoring]
[Woman Vocalizing]
[Vocalizing Continues]
Ну что за глупости, Эндреа.
Этого хотят абсолютно все.
Все хотят быть на нашем месте.
[Vocalizing Continues]
I have to be at work in 20 minutes.
What’s up?
Well, I just-
I wanted to say that you were right about everything.
That…
I turned my back on my friends and my family…
and everything I believed in…
Через 20 минут я должен быть на работе.
Что скажешь?
Ну, в общем…
Я просто хотела сказать, что ты во всем был прав.
Что…
…я повернулась спиной к друзьям, к родным…
For shoes and shirts and jackets and belts.
Nate.
I’m sorry.
L- [Clears Throat]
I flew up to Boston while you were gone.
I interviewed at the Oak Room.
And?
And you’re looking at their new sous-chef.
— I’m moving up there in a couple weeks.
— That’s great. Congratulations.
I don’t know what I’m gonna do without those late-night grilled cheeses, but-
I’m pretty sure they have bread in Boston.
May even haveJarlsberg.
— И ради чего?
— Ради туфель.
Блузок, жакетов, сумок и…
Нэйт…
…прости меня.
Я…
Я летал в Бостон, пока тебя не было.
На собеседование в «Оук Рум».
И?
Теперь я новый помощник шеф-повара.
— Через пару недель перееду.
— О, поздравляю. Это так здорово.
Не знаю, правда, как жить без сэндвичей с сыром по ночам, но…
Я почти уверен, что в Бостоне найдется хлеб.
И, возможно, даже сыр.
You think?
Yeah.
So, what about you?
I mean, what are you gonna do now?
Actually, I, uh- I have a job interview today.
— Oh, yeah?
— Mm-hmm.
That’s what you’re wearing?
Shut up. I like this.
— Andy, Greg Hill.
— Hello.
Come on. These clips are excellent.
This thing on the janitors’ union, that’s exactly what we do here.
My only question is, Runway?
My only question is, Runway?
You were there for less than a year.
What the hell kind of a blip is that?
Learned a lot.
In the end though, I kind of screwed it up.
Думаешь?
Да.
Ну, а что ты будешь делать дальше?
Я сегодня… Иду на собеседование.
Серьезно?
В этом прикиде?
Молчи! Мне нравится.
Энди? Грег Хилл.
— Здравствуйте.
— Идемте.
Статьи отличные.
Вы пишете на темы, которыми мы как раз занимаемся.
Единственный вопрос — «Подиум».
Вы проработали там почти год.
Что это была за аномалия?
Я многому научилась.
Правда, под конец дала маху.
Next thing you know, I got a fax from Miranda Priestly herself…
saying that of all the assistants she’s ever had…
you were, by far, her biggest disappointment.
And, if I don’t hire you, I am an idiot.
You must have done something right.
— [Beeping]
— [Phone Ringing]
Miranda Priestly’s office.
Hey, Emily, it’s Andy. Don’t hang up.
I have a favor to ask you.
…а потом вдруг получил факс от самой Миранды Пристли…
…где она написала, что из всех ассистенток…
…вы преподнесли ей самое большое разочарование.
И что если я вас не возьму, значит, я -идиот.
Похоже, вы чем-то ее покорили.
Нью Йорк Миррор
Офис Миранды Пристли.
Привет, Эмили, это Энди.
Yeah. The thing is, I have all these clothes from Paris…
and I don’t have anyplace to wear them…
so I was wondering if you could take them off my hands.
Well, I don’t know.
It’s a huge imposition.
And I’ll have to get them taken in.
I mean, they’ll drown me.
But I suppose I could help you out.
I will have Roy pick them up this afternoon.
Thanks, Em. I appreciate it.
Good luck.
You have some very large shoes to fill.
I hope you know that.
I don’t understand why it is so challenging…
У меня к тебе просьба.
— Ты еще о чем-то просишь меня?
— Да.
Видишь ли, я привезла из Парижа кучу нарядов…
…а ходить мне в них некуда, так что я хотела узнать…
…может, ты выручишь меня и заберешь их?
Ну, даже и не знаю.
Это колоссальная обуза.
Их придется отдать на ушивку.
Я же в них утону.
Но так уж и быть, пойду тебе навстречу.
Я пришлю за ними Роя сегодня днем.
Огромное спасибо.
Удачи.
Вы пришли на место неоценимого работника.
Надеюсь, вы сознаете.
[Chuckles]
Go.
…неужели так трудно подать мне машину вовремя?
Вперед.
| The Devil Wears Prada | |
|---|---|
Theatrical release poster |
|
| Directed by | David Frankel |
| Screenplay by | Aline Brosh McKenna |
| Based on | The Devil Wears Prada by Lauren Weisberger |
| Produced by | Wendy Finerman |
| Starring |
|
| Cinematography | Florian Ballhaus |
| Edited by | Mark Livolsi |
| Music by | Theodore Shapiro |
|
Production |
|
| Distributed by | 20th Century Fox |
|
Release dates |
|
|
Running time |
109 minutes |
| Country | United States |
| Language | English |
| Budget | $35–41 million[1][2] |
| Box office | $326.7 million[1] |
The Devil Wears Prada is a 2006 American comedy-drama film directed by David Frankel and produced by Wendy Finerman. The screenplay, written by Aline Brosh McKenna, is based on Lauren Weisberger’s 2003 novel of the same name. The film adaptation stars Meryl Streep as Miranda Priestly, a powerful fashion magazine editor, and Anne Hathaway as Andrea «Andy» Sachs, a college graduate who goes to New York City and lands a job as Priestly’s co-assistant. Emily Blunt and Stanley Tucci co-star as co-assistant Emily Charlton and art director Nigel Kipling, respectively. Simon Baker and Adrian Grenier play pivotal supporting roles.
In 2003, 20th Century Fox bought the rights to a film adaptation of Weisberger’s novel before it was completed for publication; the project was not greenlit until Streep was cast in the lead role. Principal photography lasted 57 days, primarily taking place in New York City from October to December 2005. Additional filming was done in Paris, France.
After premiering at the LA Film Festival on June 22, 2006,[3] The Devil Wears Prada was theatrically released in the United States on June 30. The film received positive reviews from critics, with Streep’s performance being singled out for praise, thus earning her many award nominations, including an Oscar nomination for Best Actress, as well as a Golden Globe for Best Actress in a Comedy or Musical. Hathaway and Blunt also drew favorable reviews and nominations for their performances. The film grossed over $326 million worldwide, against its $41 million budget, and was the 12th highest-grossing film worldwide in 2006.
Although the film is set in the fashion world, and references well-known establishments and people within that industry,[4] most designers and other fashion notables avoided appearing as themselves for fear of displeasing US Vogue editor Anna Wintour, who is widely believed to have been the inspiration for Priestly. Still, many allowed their clothes and accessories to be used in the film, making it one of the most expensively costumed films in history.[5] Wintour later overcame her initial skepticism, saying she liked the film and Streep in particular.[6]
Plot[edit]
Andy Sachs is an aspiring journalist newly graduated from Northwestern University. Despite her ridicule of the fashion industry, she lands a job as junior personal assistant to Miranda Priestly, the editor-in-chief of Runway magazine, a job that «millions of girls would kill for». Andy plans to put up with Miranda’s excessive demands and humiliating treatment for one year in the hopes of getting a job as a reporter or writer somewhere else.
At first, Andy fumbles with her job and fits in poorly with her gossipy, fashion-forward co-workers, especially Miranda’s senior assistant, Emily Charlton. After a dress trial meeting in which Miranda berates her in front of the entire team, she approaches art director Nigel to help her learn the ropes in the world of fashion. She begins to dress stylishly and makes an effort to accommodate all of Miranda’s whims and fancies, which creates problems in her relationship with her boyfriend Nate, who is frustrated that she is always at her new boss’s beck and call.
Miranda notices Andy’s changed appearance and commitment and begins to give her more responsibility and complicated tasks to handle. Slowly but surely, Andy becomes more glamorous and absorbs the Runway philosophy. She gradually outperforms Emily at her job. Emily, meanwhile, is consumed with the thought of attending Paris Fashion Week as Miranda’s assistant, which motivates her to attempt extreme diets which damage her health. When Emily is feeling too unwell to remember important details about the guests at a charity benefit, Andy steps in to save Miranda from embarrassment and is rewarded by being asked to replace Emily as Miranda’s assistant at the Paris Fashion Week. Miranda tells Andy to inform Emily that she will not be going to Paris, but when Andy calls Emily, Emily is hit by a car and ends up in the hospital. Andy then tells the recovering Emily the news and Emily is furious. When Andy tells Nate the news, he is angered that she has become what she once ridiculed and they break up.
In Paris, Andy learns from Miranda about her impending divorce. Later that night, Nigel tells Andy that he has accepted a job as creative director with rising designer James Holt. Andy spends the night with an attractive young writer, Christian Thompson, who tells her that Miranda is to be replaced by Jacqueline Follet as editor of Runway. Feeling bad for Miranda, Andy attempts to warn her but Miranda sends her away.
At a luncheon later that day, Miranda announces Jacqueline as the new creative director to Holt, leaving Andy and Nigel stunned. Later in the car, Miranda explains to Andy that she already knew of the plot to replace her and sacrificed Nigel to keep her own job. When Andy is repulsed, Miranda points out that Andy did the same with Emily by stepping over her and agreeing to go to Paris. When they arrive at their destination, Andy walks away from Miranda and throws her cell phone into the fountain of the Place de la Concorde and returns to New York.
Sometime later, Andy meets up with Nate and apologizes. Nate tells Andy he has a new job as a sous-chef in Boston, and reconcile without rekindling their relationship. The same day, Andy is interviewed and accepted to work at a major New York publication company. The editor recounts how he called Runway for a reference, and was informed by Miranda that while Andy was one of the biggest disappointments she ever had as an assistant, he would be an idiot not to hire her. Andy then calls Emily and reconciles with her by offering her the dresses she obtained in Paris. While passing the Runway office building in the afternoon, Andy makes eye contact with Miranda as she gets into a car. Although Andy waves, Miranda does not acknowledge her but smiles to herself once she is seated in the car.
Cast[edit]
- Meryl Streep as Miranda Priestly
- Anne Hathaway as Andrea «Andy» Sachs
- Emily Blunt as Emily Charlton
- Stanley Tucci as Nigel Kipling
- Simon Baker as Christian Thompson
- Adrian Grenier as Nate Cooper
- Gisele Bündchen as Serena
- Tracie Thoms as Lily
- Rich Sommer as Doug
- Daniel Sunjata as James Holt
- James Naughton as Stephen
- Colleen Dengel as Caroline Priestly
- Suzanne Dengel as Cassidy Priestly
- David Marshall Grant as Richard Sachs
- Tibor Feldman as Irv Ravitz
- Rebecca Mader as Jocelyn
- Alyssa Sutherland as Clacker
- Ines Rivero as Clacker at elevator
- Stéphanie Szostak as Jacqueline Follet
- David Callegati as Massimo
- Paul Keany as St. Regis Doorman
Cameos[edit]
- Valentino Garavani
- Giancarlo Giammetti
- Carlos de Souza
- Bridget Hall
- Lauren Weisberger as the twins’ nanny
- Robert Verdi as a fashion journalist in Paris who interviews Miranda
- Heidi Klum
- Jen Taylor as Lou
- Nigel Barker
Production[edit]
When we made it I was naive. I know now how rare it is to find situations where the stars align.
Director David Frankel and producer Wendy Finerman had originally read The Devil Wears Prada in book proposal form.[8] It would be Frankel’s second theatrical feature, and his first in over a decade. He, cinematographer Florian Ballhaus and costume designer Patricia Field, drew heavily on their experience in making Sex and the City.
Frankel recalls the whole experience as having high stakes for those involved, since for himself and the others behind the camera it was the biggest project they had yet attempted, with barely adequate resources. «We knew we were on very thin ice,» he told Variety for a 2016 article on the film’s 10th anniversary. «It was possible this could be the end of the road for us.»[9]
Weisberger is widely believed to have based Miranda on Anna Wintour, the powerful editor of Vogue, for whom she herself had once worked as a personal assistant. Fear of what Wintour might do in retribution for any visible cooperation with the production posed obstacles, not just in the fashion industry but also in Hollywood.[10]
Pre-production[edit]
Fox bought the rights to Weisberger’s novel before it was not only published in 2003, but even finished. Carla Hacken, then the studio’s executive vice president, had only seen the first hundred pages of manuscript and an outline for how the rest of the plot was to go. But for her that was enough. «I thought Miranda Priestly was one of the greatest villains ever,» she recalled in 2016. «I remember we aggressively went in and scooped it up.»[9]
Writing[edit]
Work on a screenplay started promptly, before Weisberger had even finished her work. When it became a bestseller upon publication, elements of the plot were incorporated into the screenplay in progress. Most took their inspiration from the 2001 Ben Stiller film Zoolander and primarily satirized the fashion industry. But it was still not ready to film. Elizabeth Gabler, later head of production at Fox, noted that the finished novel did not have a complete narrative. «Since there wasn’t a strong third act in the book,» she said later, «we needed to invent that.»[9]
In the meantime, the studio and producer Wendy Finerman sought a director. Out of many candidates with experience in comedy, David Frankel was hired despite his limited experience, having only made one feature, Miami Rhapsody, along with some episodes of Sex and the City and Entourage. He was unsure about the property, calling it «undirectable … a satire rather than a love story».[11] Later, he cited Unzipped, the 1995 documentary about designer Isaac Mizrahi, as his model for the film’s attitude towards fashion: «[It] revels in some of the silliness of the fashion world, but is also very serious.»[12]
At a meeting with Finerman, Frankel told her that he thought the story unnecessarily punished Miranda. «My view was that we should be grateful for excellence. Why do the excellent people have to be nice?»[9] He prepared to move on and consider more scripts. Two days later his manager persuaded him to reconsider and look for something he liked that he could shape the film into. He took the job, giving Finerman extensive notes on the script and laying out a detailed vision for the film.[11]
Four screenwriters worked on the property. Peter Hedges wrote the first draft, but did not think he could do more; another writer passed. Paul Rudnick did some work on Miranda’s scenes, followed by a Don Roos rewrite.[11] After that, Aline Brosh McKenna, who was able to relate her own youthful experiences attempting to launch a journalism career in New York to the story,[11][13] produced a draft after a month’s work that struck the right balance for Finerman and Frankel, whose notes were incorporated into a final version,[9] rearranging the plot significantly, following the book less closely[9] and focusing the story on the conflict between Andy and Miranda.[14] She found the experience of writing a story with female protagonists that did not center around a relationship «very liberating … I felt I was allowed to do what the movie wanted to be, a Faust story, a Wall Street for ladies.»[11]
McKenna also initially toned down Miranda’s meanness at the request of Finerman and Frankel, only to restore it later for Streep.[8] She later cited Don Rickles as her main influence for the insults in the dialogue; before even starting work on the screenplay she had come up with Miranda’s «Take a chance. Hire the smart fat girl» line, which she felt summed up the disparity between Andy and the world she found herself in.[15] Weisberger recalled in 2021, on the film’s 15th anniversary, that McKenna’s draft took it away from the «typical chick flick» direction it was going in.[10]
In a 2017 interview with Entertainment Weekly, McKenna revealed that the character she and Frankel had the most discussions about was Andrea’s boyfriend Nate. She likened his role in the story to that usually played by a male protagonist’s girlfriend or wife who regularly reminds him of responsibilities at home that he has neglected. «[W]e wanted to make sure he wasn’t a pain in the ass, but he is the person who is trying to say, ‘Is this who you want to be morally?'»[16]
McKenna consulted with acquaintances who worked in fashion to make her screenplay more realistic, a task she said later was difficult since many of them did not want to risk offending Wintour.[10] In a 2010 British Academy of Film and Television Arts lecture, she told of a scene that was changed after one of these reviews, where Nigel told Andy not to complain so much about her job. Originally, she had made his speech more of a supportive pep talk, but one of those acquaintances said that would not happen: «[N]o-one in that world is nice to each other … There’s no reason to be, and they don’t have time.» she quoted him as saying.[17]
Cerulean sweater speech[edit]
The cerulean sweater speech
The «cerulean speech»,[18] where Miranda draws the connection between the designer fashion in Runway‘s pages and Andy’s cerulean blue sweater, criticizing Andy’s snobbishness about fashion and explaining the trickle-down effect, had its origins in a scene cut from earlier drafts that Streep had asked to have restored. It slowly grew from a few lines where the editor disparaged her assistant’s fashion sense to a speech about «why she thought fashion was important … She is so aware that she is affecting billions of people, and what they pick off the floor and what they are putting on their bodies in the morning.»[15] Streep said in 2016 she was interested in «the responsibility lying on the shoulders of a woman who was the head of a global brand … That scene wasn’t about the fun of fashion, it was about marketing and business.»[2][a]
McKenna recalls that she kept expanding it to suit Streep and Frankel, but even a few days before it was scheduled to be filmed she was unsure if it would be used or even shot. She was revising it at a nearby Starbucks when she realized that Miranda would describe something not as just blue—chosen as the color for Andy’s sweater since it would work best on screen[15]—but would instead use an exact shade. From a list of shades McKenna sent, Streep picked cerulean; the final speech takes up almost a page of the script,[20] long for a mainstream film. «I was like, it’d be cool if half of that ended up in the movie,» the writer says. «Every word is in the movie.»[21] The references to past designer collections are entirely fictional, McKenna explains, since the speech was written around the sweater’s color[15] (however, the Huffington Post later pointed out, designers often take their fashion inspiration from the streets[22]).
The speech has become one of the film’s most memorable moments; «Miranda’s signature monologue» to The Ringer.[18] «‘Cerulean’ [has never] sounded more sinister,» the Huffington Post wrote in 2016,[22] In 2018 New York Times chief fashion critic Vanessa Friedman invoked the speech in her defense of the importance of covering haute couture:
And it’s not the «Devil Wears Prada» argument, though that does hold true: In a world where everything goes into the Instagram soup and from there seeps into the cultural digestive system, what might appear on a runway in the Musée Rodin (where Dior holds its shows) in July will affect what H&M does in August.[23]
Morwenna Ferrier, a fashion reporter for The Guardian agreed, despite the speech’s references to fictional collections. «As a fashion journalist I can vouch for its gist: that regardless of how immune you think you are to fashion, if you buy clothes, you are indebted to someone else’s choice», she wrote in an article about how the fashion industry continues to embrace the speech’s argument. «Arguing that you are oblivious to trends is a fashion choice in itself.» As an example of how that had happened in reality since the film, she cited the yellow Guo Pei dress Rihanna wore to the 2015 Met Gala, greatly popularizing that color for clothing over the next two years.[24] But a 2021 Study Breaks piece argues that the idea it promotes that fashion always trickles down from a cultural elite is contradicted by brands such as Vetements, which takes its inspiration from everyday streetwear, and Champion, the sportswear brand whose popularity with low-income customers helped make an elite brand those customers can no longer afford.[25]
In 2016, on the film’s 10th anniversary, Mic wrote that the speech’s logic also functioned as a critique of cultural appropriation. «In many ways, Priestley’s monologue nailed the real problem with cultural appropriation: people not understanding the history or meaning behind something like cornrows or headdresses, but treating it like a new trend or accessory anyway.»[26]
Six years later, in a Slate article discussing the appeal of female characters in movies and TV who deliver incisive insults and other commentary with no apparent affect, such as those played by Aubrey Plaza, Nadira Goffe recalled Streep’s «epic, unfeeling monologue» about the sweater as a «perfect example» of the archetype. «In a moment where a character would usually be showing a hint of frustration, anger, or even annoyance, Streep schools Anne Hathaway’s character in a manner that feels as though she barely even thought about the words she was saying», she writes. «It gives her an air of removal, and therefore control—being straight-faced and even-toned in an emotional situation shows how little she cares, or that she’s lying about caring at all.»[27]
Casting[edit]
Once the screenplay was completed, the filmmakers and Fox focused on getting Meryl Streep to play Miranda; Carla Hacken recalled she was seen as so perfect for the part that no one had discussed any alternatives (although McKenna recalls writing provisional dialogue should the producers have had to settle for another actress).[21] Weisberger, who initially could not imagine Streep playing the part, recalled that after seeing her on set it was «crystal clear» that she was perfect for the role.[28] Her casting helped offset some of the difficulties Wintour’s resistance to the film had created.[10]
The news that Streep would meet with Frankel was celebrated at Fox. But while Streep, for her part, knew the film could be very successful, she felt the pay she was being offered for playing Miranda was «slightly, if not insulting, not perhaps reflective of my actual value to the project». The producers doubled it to around $4 million,[2] and she signed on, allowing Fox to greenlight the film.[9] According to Frankel, Streep saw the film as a chance to «skewer the doyennes of the fashion world». She has three daughters and, as an ardent feminist, felt that fashion magazines «twisted the minds of young women around the world and their priorities. This was an interesting way to get back at them.» Also, she said, the film passed the Bechdel test.[2]
She insisted on the cerulean sweater speech,[21] and the scene where Miranda briefly opens up to Andy, without makeup, about her divorce. «I wanted», she explained, «to see that face without its protective glaze, to glimpse the woman in the businesswoman.»[9]
Casting Andy was more difficult. Fox wanted a young A-list actress, and felt Rachel McAdams, then coming off successes in Mean Girls and The Notebook, would help the film’s commercial prospects. McAdams turned down several offers to play Andy, telling the studio she was trying to avoid mainstream Hollywood projects for a while.[9] Claire Danes and Juliette Lewis were among seven other actresses also considered.[29]
Anne Hathaway, by contrast, actively sought the part, tracing «Hire me» in the sand of the zen garden on Hacken’s desk when she talked about the project with the executive. While Frankel liked her enough to not require her to audition, she knew she was not the studio’s first choice and he would have to be patient[9] (other accounts say that she was the only actress considered for the role).[8] Fox production chief Elizabeth Gabler says the studio had not realized how strong her audience was after the Princess Diaries films.[2] In one of their meetings, Gabler recalls Hathaway sitting on her couch giving her notes on the third act. While the studio did not use those notes, «her sensibilities were completely aligned with what we ended up doing.»[10] Hathaway took the part to work with Streep, but also due to some personal aspects.[30] She celebrated when she learned she had gotten the part.[9]
Over 100 actresses had been considered for Emily before one of the casting agents taped Emily Blunt reading some of the lines elsewhere on the Fox lot as she was leaving for her flight to London following her audition for Eragon. Although she read them in her own British accent despite the character being written as American like in the novel, Frankel was interested;[9] Finerman liked her for her sense of humor.[14] After the makers of Eragon cast Sienna Guillory, Frankel called her in the bathroom of «some dive club» in London, where she was consoling herself with her sister. He told her that while he would have cast her just from the tape, the studio wanted to see another audition with her dressed more in character.[9] She insisted on continuing to play the character as British.[31] Both Hathaway and Blunt lost weight for their roles, with Hathaway later recounting that they «would clutch at each other and cry because we were so hungry.»[32] Blunt later denied rumors she did this at the filmmakers’ request.[33][34]
Colleen and Suzanne Dengel, the twins who played Miranda’s daughters, were cast two weeks after auditioning for Frankel and Finerman. The director and producer laughed, which the sisters believed help them get the part. They recalled in 2017 that they were excited both by being able to work together on camera for the first time, as well as the chance to act opposite Hathaway since they were big fans of the Princess Diaries films as well.[35]
Tucci was one of the last actors cast; he agreed to play Nigel only three days before shooting started.[9] «It was just such a beautiful piece of writing, and there’s no way that you could ever say no to such a thing», he recalled.[10] The filmmakers reportedly had auditioned Barney’s creative director Simon Doonan and E!’s Robert Verdi, both openly gay men highly visible as media fashion commentators, for the part; the BBC’s Graham Norton also auditioned[36] from among 150 actors considered for the part.[10] Verdi would later say there was no intention to actually hire him and the producers had just used him and Doonan to give whoever they ultimately did cast some filmed research to use in playing a gay character (he would end up with a walk-on part as a fashion journalist in Paris). Tucci says he was unaware of this: «All I know is that someone called me and I realized this was a great part.» He based the character on various people he was acquainted with, insisting on the glasses he ultimately wore.[37]
Daniel Sunjata had originally read for Tucci’s part, rather unenthusiastically since he had just finished playing a similar character, but then read the Holt part and asked if he could audition for it. Simon Baker auditioned by sending a video of himself, wearing the same self-designed green jacket he has on when he and Andy meet for the first time.
Wintour reportedly warned major fashion designers who had been invited to make cameo appearances as themselves in the film that they would be banished from the magazine’s pages if they did so;[39] Frankel said in 2021 the most any were willing to do was help the production with background information, like allowing visits to their showrooms or giving notes on the authenticity of the script.[10] Vogue and other major women’s and fashion magazines have avoided reviewing or even mentioning the book in their pages. Wintour’s spokespeople deny the claim,[39] but costume designer Patricia Field says many designers told her they did not want to risk Wintour’s wrath.[5]
Only Valentino Garavani, who designed the black evening gown Miranda wears during the museum benefit scene, chose to make an appearance.[39] Coincidentally, he was in New York City during production and Finerman dared Field, an acquaintance, to ask him personally. Much to her surprise, he accepted.[40] Other cameos of note include Heidi Klum as herself and Weisberger as the twins’ nanny. Streep’s daughter’s film debut as a barista at Starbucks was cut. Gisele Bündchen agreed to appear in the film only if she did not play a model.
Filming[edit]
Principal photography took place over 57 days in New York and Paris between October and December 2005. The film’s budget was initially $35 million and was to only include filming in New York.[2] The limited budget caused problems with some locations—the crew could not get permission to shoot at the Museum of Modern Art or Bryant Park,[9] which they also attribute to fear of Wintour. The co-op boards at many apartment buildings also refused to let the production use them for Miranda’s, which Frankel also believes was because of Wintour’s influence.[10]
Ballhaus, at Finerman and Frankel’s suggestion, composed as many shots as possible, whether interiors or exteriors, to at least partially take in busy New York street scenes in the background, to convey the excitement of working in a glamorous industry in New York. He also used a handheld camera during some of the busier meeting scenes in Miranda’s office, to better convey the flow of action, and slow motion for Andrea’s entrance into the office following her makeover. A few process shots were necessary, mainly to put exterior views behind windows on sets and in the Mercedes where Miranda and Andy are having their climactic conversation.
Fox originally refused permission to let Frankel shoot some scenes from the third act in Paris, where it is set, due to the low budget. After six «nightmarish»[2] weeks of shooting, he had an editor cut a «sizzle reel» of highlights. That convinced the studio to increase the budget to allow for limited shooting overseas.[2] Streep did not go as Fox believed it would be too expensive; green screen shots and her body double were used instead.[9][2]
Acting[edit]
Several weeks after all the major parts had been cast, the actors gathered in New York for a table read. Hathaway was nervous and goofy, she recalls, since she still had not developed her idea of the part; she described her performance at that point as «[nothing] particularly impressive». Blunt, by contrast, found Streep’s laugh relaxed her enough to keep her focused on playing a nervous, distracted Emily. The highlight of the session was Streep’s first line as Miranda. Instead of the «strident, bossy, barking voice» everyone expected, Hathaway says, Streep silenced the room by speaking in a near whisper. «It was so unexpected and brilliant.» At the reading Streep also changed Miranda’s last line to «everybody wants to be us» from the original «me».[9]
Streep made a conscious decision not to play the part as a direct impression of Wintour,[43] right down to not using an accent and making the character American rather than English («I felt it was too restricting»).[31] «I think she wanted people not to confuse the character of Miranda Priestly with Anna Wintour at all,» said Frankel. «And that’s why early on in the process she decided on a very different look for her and a different approach to the character.»[8] The «that’s all,»[44] «please bore someone else …»[45] catchphrases; her coat-tossing on Andrea’s desk[46] and discarded steak lunch[47] are retained from the novel. Streep prepared by reading a book by Wintour protégé Liz Tilberis and the memoirs of Vogue editor Diana Vreeland. She lost so much weight during shooting that the clothes had to be taken in.[43]
During the movie’s press tour she also said her performance as Miranda was inspired by different men she knew, but did not say which ones. In 2016 she disclosed to Variety that she took Miranda’s soft speaking style from Clint Eastwood: «He never, ever, ever raises his voice and everyone has to lean in to listen, and he is automatically the most powerful person in the room.» However, she said, Eastwood does not make jokes, so instead she modeled that aspect of the character on theatrical and film director Mike Nichols, whose delivery of a cutting remark, she said, made everyone laugh, including the target. «The walk, I’m afraid, is mine,» Streep added.[9]
For Miranda’s actual look, Streep looked to two women. The bouffant hairstyle was inspired by model and actress Carmen Dell’Orefice,[b] which Streep said she wanted to blend with «the unassailable elegance and authority of [French politician] Christine Lagarde».[9][15] She wanted Miranda’s hair to be white, which the producers feared would make her look too old, but the studio trusted her and she worked with makeup artist and stylist J. Roy Helland, a longtime associate, to create the look.[10]
The costumes Field designed to go with that look resulted in numerous blown takes during the montage where Miranda repeatedly throws her overcoat on Andrea’s desk when she arrives in the morning.[9] When McKenna saw Streep as Miranda for the first time on set, she recalls being so terrified she threw her arm in front of Frankel «like we were in a car wreck».[15]
Hathaway prepared for the part by volunteering for a week as an assistant at an auction house where she was «put through the wringer» according to Weisberger, who adds that Hathaway supplemented that by asking her many questions about working for Wintour.[28] Frankel recalls that she was nervous through most of the shooting, particularly when working late, since Raffaello Follieri, her boyfriend at that time, preferred strongly that she not do so;[9] she was also having health issues due to a cyst.[2] The director said she was «terrified» before starting her first scene with Streep, who had begun her working relationship with Hathaway by saying first «I think you’re perfect for the role and I’m so happy we’re going to be working on this together» then warning her that was the last nice thing she would say.[48] Streep applied this philosophy to everyone else on set as well, keeping her distance from the cast and crew members unless it was necessary to discuss something with them.[35]
The scene where Andy delivers the Book, the mockup of the magazine in progress, to Miranda’s apartment, was, according to the Dengels, who played Miranda’s twin daughters, totally improvised. «That was just something we did with Anne and it made the cut,» Colleen Dengel told BuzzFeed in 2017. Nevertheless, it took three more days of filming to get the shot of the girls up in the stairwell the way Frankel wanted it, a look she believes was inspired by a similar scene with twin girls in The Shining.[35]
Improvisations[edit]
Several of the actors contributed dialogue and scenes to the film. Streep suggested the editorial meeting scene, which does not advance the plot but shows Miranda at work without Andy present. It was also her idea that Miranda not wear makeup in the scene where she opens up to Andy and worries about the effect on her daughters of her divorce becoming public knowledge.[8]
Hathaway suggested taking the kiss between Andy and Nate out of the scene where he makes her a grilled cheese sandwich. «I just don’t think it’s right…just doesn’t feel like we’re at that point in our relationship», Grenier recalls her saying. «There’s too much history.»[10]
Blunt, for her part, contributed the line where she tells Andy «I’m hearing this», while opening and closing her hand, «and I want to hear this» keeping the other one closed. In 2015 she told Howard Stern that she had overheard a mother saying that to a child in a supermarket during production.[50] Bündchen’s «She looks good» upon seeing Andy following her makeover is likewise her improvised addition to the script; she thought it balanced Emily’s meanness to Andy.[10]
Costuming[edit]
Frankel, who had worked with Patricia Field on his feature-film debut Miami Rhapsody as well as Sex and the City, knew that what the cast wore would be of utmost importance in a movie set in the fashion industry. «My approach was to hire her and then leave the room,» he joked later.[51] While only Valentino Garavani appeared onscreen, many other designers were helpful to Field.[52] Frankel recalls that Prada’s decision to assist Field «helped her break the ice».[10]
The $100,000 budget for the film’s costumes was supplemented by help from Field’s friends throughout the industry. Ultimately, she believes, at least $1 million worth of clothing was used in the film, making it one of the most expensively costumed movies in cinema history.[5] The single priciest item was a $100,000 Fred Leighton necklace on Streep,[52] who likened Field’s success in putting the movie’s wardrobe together to the special effects in the Mission: Impossible films.[10]
When Hathaway enters the office after Nigel gives her access to Runway‘s closet, she is dressed entirely in Chanel. Field explained in 2016 that «I felt Annie Hathaway was a Chanel girl organically, as opposed to let’s say a Versace [or Roberto Cavalli] girl.» When she called the company to ask for assistance, they were delighted because «they wanted to see Chanel on a young girl to give it another point of view,» showing it as a brand for «not just middle-aged women in suits, but youthful and funky.»[53] Calvin Klein rounds out Andrea’s wardrobe. Most of the garments seen onscreen were borrowed; Streep recalls not being able to eat spaghetti at lunch while wearing one dress because if it got soiled the production could not return it.[10]
Dolce & Gabbana and Calvin Klein helped Field as well, with some contributions from Lebanese designer Georges Chakra.[55] Although Field avoids making Streep look like Wintour, she dresses her in generous helpings of Prada (By Field’s own estimate, 40 percent of the shoes on Streep’s feet are Prada). «I know her character was originally based on Anna Wintour,» Field said, «but I didn’t want to copy someone’s style.»[56] But, like Wintour and her Vogue predecessor Diana Vreeland, the two realized that Miranda needed a signature look, which was provided primarily by the white wig and forelock she wore as well as the clothes the two spent much time poring over look-books for.[8] «[I]n choosing her wardrobe my idea was that she’s a chief fashion editor, she has her own style,» Fields told Women’s Wear Daily in 2016. «We’re creating an original character.»[57]
Blunt recalls that she and Streep generally wore the shoes that came with their outfits only when they were shown in full. Whenever only their upper bodies needed to be visible, they put on more comfortable footwear like Uggs. Hathaway, by contrast, always wore whatever shoes she had been given. «[She was running] over cobblestone streets like a sure-footed little mountain goat», Blunt recalls.[10]
Field said she avoided prevailing fashion trends for Miranda during production in favor of a more timeless look based on Donna Karan archives and pieces by Michaele Vollbracht for Bill Blass.[5] She did not want people to easily recognize what Miranda was wearing.
Emily Blunt in the look Field created for her character
She contrasted Andy and Emily by giving Andy a sense of style, without much risk-taking, that would suggest clothing a fashion magazine would have on hand for shoots, clothing a recent college graduate with little sense of style would feel comfortable wearing in a fashion-conscious workplace.[5] Blunt, on the other hand was «so on the edge she’s almost falling off».[58] For her, Field chose pieces by Vivienne Westwood and Rick Owens to suggest a taste for funkier, more «underground» clothing. After the film’s release, some of the looks Field chose became popular, to the filmmakers’ amusement.
Tucci praised Field’s skill in putting ensembles together that were not only stylish but helped him develop his character:
She just sort of sits there with her cigarette and her hair, and she would pull stuff—these very disparate elements—and put them together into this ensemble, and you’d go, «Come on, Pat, you can’t wear that with that.» She’d say, «Eh, just try it on.» So you’d put it on, and not only did it work, but it works on so many different levels—and it allows you to figure out who the guy is. Those outfits achieve exactly what I was trying to achieve. There’s flamboyance, there’s real risk-taking, but when I walk into the room, it’s not flashy. It’s actually very subtle. You look at it and you go, «That shirt, that tie, that jacket, that vest? What?» But it works.[37]
He found one Dries van Noten tie he wore during the film to his liking and kept it.[37]
Production design[edit]
After touring some offices of real fashion magazines, Jess Gonchor gave the Runway offices a clean, white look meant to suggest a makeup compact («the chaste beiges and whites of impervious authority,» Denby called it[59]). Miranda’s office bears some strong similarities to the real office of Anna Wintour, down to an octagonal mirror on the wall, photographs and a floral arrangement on the desk.[60] Gonchor later told Women’s Wear Daily that he had based the set on a photo of Wintour’s office he found online; the similarity led Wintour to have her office redecorated after the movie’s release.[61] In 2021, Frankel said Gonchor had actually managed to sneak into Vogue‘s offices to get a look at Wintour’s. «They got it really, really close», Weisberger said.[10]
Gonchor even chose separate computer wallpaper to highlight different aspects of Blunt’s and Hathaway’s character: Paris’s Arc de Triomphe on Blunt’s suggests her aspirations to accompany Miranda to the shows there, while the floral image on Andy’s suggests the natural, unassuming qualities she displays at the outset of her tenure with the magazine. For the photo of Andy with her parents, Hathaway posed with her own mother and David Marshall Grant. The Dengel twins recalled being asked every day for three years straight if the Harry Potter advance copies were real; to their great disappointment they were not and in fact were «all gibberish». They eventually auctioned them for $586 on eBay, along with various clothing used in the film, to benefit Dress for Success, a charity which provides business clothing to help women transition into the workforce.[35][62]
Locations[edit]
New York[edit]
- The 1221 Avenue of the Americas on Sixth Avenue was used for the exteriors and lobby of Elias-Clarke’s headquarters.
- The Runway offices are partially corridors in the neighboring Fox building and partially sets.
- The Elias-Clarke cafeteria is the one at the Reuters office in Manhattan.
- Nate and Andy’s apartment is on the Lower East Side.[63]
- Andy gets on the subway at the Spring Street station and gets off at 51st Street, both on the Lexington Avenue Line.[63]
- Bubby’s,[63] the restaurant Nate works at (and where Andrea, Doug and Lily eat dinner on occasion) is in TriBeCa.
- The Smith & Wollensky steakhouse and its kitchen were used.
- The Calvin Klein showroom is used in the deleted scenes.
- Holt’s studio is a loft used by an actual designer.
- The American Museum of Natural History was used for the exterior of the museum benefit, while the lobby of one of the Foley Square courthouses is used for the interior.
- The Priestly townhouse is on the Upper East Side and belongs to a friend of Finerman’s. It had to be dressed on short notice after another one could not be used.
- Christian gives Andy the unpublished Harry Potter manuscript at the St. Regis Hotel’s King Cole Bar.[63]
- The Amtrak train the twins are taking is going up the Hudson River at Haverstraw Bay.
- Streep exits her limousine, supposedly in Paris, at 77th Street and Central Park West.
- The New York Mirror newsroom where Andy gets hired at the end of the film is that of the now-defunct New York Sun.
- The café where Andy apologizes to Nate was the Mayrose at 920 Broadway (near the Flatiron Building), which has since closed. On its site is a Flying Tiger Copenhagen store.
Paris[edit]
The crew were in Paris for only two days, and used only exteriors. Streep did not make the trip.[8]
- The fountain Andy throws her phone into is on the Place de la Concorde.
- All the hotel interiors are actually the St. Regis in Manhattan. The fashion shows were filmed on a soundstage in Queens. Likewise, Christian’s hotel is the W Hotel at Times Square.
Post-production[edit]
Editing[edit]
Mark Livolsi realized, as McKenna had on the other end, that the film worked best when it focused on the Andrea-Miranda storyline. Accordingly, he cut a number of primarily transitional scenes, such as Andrea’s job interview and the Runway staff’s trip to Holt’s studio. He also took out a scene early on where Miranda complimented Andrea. Upon reviewing them for the DVD, Frankel admitted he had not even seen them before, since Livolsi did not include them in any prints he sent to the director.
Frankel praised Livolsi for making the film’s four key montages—the opening credits, Miranda’s coat-tossing, Andrea’s makeover and the Paris introduction—work. The third was particularly challenging as it uses passing cars and other obstructions to cover Hathaway’s changes of outfit. Some scenes were also created in the editing room, such as the reception at the museum, where Livolsi wove B-roll footage in to keep the action flowing.
In 2021 McKenna estimated that she had signed off on $10 million in cut scenes. An opening scene in which Andy goes to the wrong building on her way to her interview was taken out to get the story started more quickly. The scene where she misses Nate’s birthday was originally more elaborate, with the couple supposed to meet up with their friends at a concert, but that proved to be too expensive, and so the scene with the cupcake was written instead. «We had many versions of that.» And an alternate ending for the couple’s arc, where they have the same conversation about the future of their relationship while running through the park, was filmed but replaced with the less optimistic scene in the restaurant.[10]
McKenna had also been willing to cut Miranda’s «Florals… for spring. Groundbreaking» line, but Frankel had it kept in.[10]
Music[edit]
Composer Theodore Shapiro relied heavily on guitar and percussion, with the backing of a full orchestra, to capture a contemporary urban sound. He ultimately wrote 35 minutes of music for the film, which were performed and recorded by the Hollywood Studio Symphony, conducted by Pete Anthony.[64] His work was balanced with songs by U2 («City of Blinding Lights», Miranda and Andy in Paris), Madonna («Vogue» & «Jump», Andrea’s fashion montage & her first day on the job, respectively), KT Tunstall («Suddenly I See», female montage during opening credits), Alanis Morissette («Crazy», Central Park photo shoot), Bitter:Sweet («Our Remains,» Andy picks up James Holt’s sketches for Miranda; Bittersweet Faith, Lily’s art show), Azure Ray («Sleep,» following the breakdown of her relationship with Nate), Jamiroquai («Seven Days in Sunny June,» Andy and Christian meet at James Holt’s party) among others. Frankel had wanted to use «City of Blinding Lights» in the film after he had used it as a soundtrack to a video montage of Paris scenes he had put together after scouting locations there. Likewise, Field had advocated just as strongly for «Vogue».
The soundtrack album was released on July 11, 2006, by Warner Music. It includes most of the songs mentioned above, as well as a suite of Shapiro’s themes. Among the tracks not included is «Suddenly I See,» an omission which disappointed many fans.[65]
Pre-release and marketing[edit]
Originally intended just to convince Fox to fund some shooting in Paris, Frankel’s sizzle reel led the studio to put a stronger marketing push behind the movie. It moved the release date from February to summer, scheduling it as a lighter alternative audiences could consider to Superman Returns at the end of June 2006, and began to position it as an event movie in and of itself.[9]
Two decisions by the studio’s marketing department that were meant to be preliminary wound up being integral to promoting the film. The first was the creation of the red stiletto heel ending in a pitchfork as the film’s teaser poster. It was so successful and effective, becoming almost «iconic» (in Finerman’s words), that it was used for the actual release poster as well. It became a brand, and was eventually used on every medium related to the film—the tie-in reprinting of the novel and the soundtrack and DVD covers as well.[8]
The studio also put together a trailer of scenes and images strictly from the first three minutes of the film, in which Andy meets Miranda for the first time, to be used at previews and film festivals until they could create a more standard trailer drawing from the whole film. But, again, this proved so effective with early audiences it was retained as the main trailer, since it created anticipation for the rest of the film without giving anything away.[8]
Gabler credits the studio’s marketing team for being «really creative». Fox saw the film as «counter-programming» on the weekend Superman Returns was released. While they knew that the material and Hathaway would help draw a younger female audience that would not be as interested in seeing that film, «[w]e didn’t want it to just seem like a chick flick coming out.»[7]
Reception[edit]
Critical response[edit]
On Rotten Tomatoes the film holds an approval rating of 75% based on 195 reviews, along with an average rating of 6.7/10. The website’s critics consensus reads, «A rare film that surpasses the quality of its source novel, this Devil is a witty expose of New York’s fashion scene, with Meryl Streep in top form and Anne Hathaway more than holding her own.»[66] On Metacritic, the film has a weighted average score of 62 out of 100, based on 40 critics, indicating «generally favorable reviews».[67] Audiences surveyed by CinemaScore gave the film an average grade «B» on an A+ to F scale.[68]
Initial reviews of the film focused primarily on Streep’s performance, praising her for making an extremely unsympathetic character far more complex than she had been in the novel. «With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streep’s Miranda inspires both terror and a measure of awe,» wrote A. O. Scott in The New York Times. «No longer simply the incarnation of evil, she is now a vision of aristocratic, purposeful and surprisingly human grace.»[69]
Kyle Smith agreed at the New York Post: «The snaky Streep wisely chooses not to imitate Vogue editrix Anna Wintour, the inspiration for the book, but creates her own surprisingly believable character.»[70]
David Edelstein, in New York magazine, criticized the film as «thin», but praised Streep for her «fabulous minimalist performance».[71] J. Hoberman, Edelstein’s onetime colleague at The Village Voice, called the movie an improvement on the book and said Streep was «the scariest, most nuanced, funniest movie villainess since Tilda Swinton’s nazified White Witch [in 2005’s The Chronicles of Narnia: The Lion, the Witch and the Wardrobe]».[72]
Blunt, too, earned some favorable notice. «[She] has many of the movie’s best lines and steals nearly every scene she’s in,» wrote Clifford Pugh in the Houston Chronicle.[73] Other reviewers and fans concurred.[74][75] While all critics were in agreement about Streep and Blunt, they pointed to other weaknesses, particularly in the story. Reviewers familiar with Weisberger’s novel assented to her judgment that McKenna’s script greatly improved upon it.[59][69] An exception was Angela Baldassare at The Microsoft Network Canada, who felt the film needed more of the nastiness others had told her was abundant in the novel.[76]
David Denby summed up this response in his New Yorker review: «The Devil Wears Prada tells a familiar story, and it never goes much below the surface of what it has to tell. Still, what a surface!»[59] Reactions to Hathaway’s performance were not as unanimous as for many of her costars. Denby said «she suggests, with no more than a panicky sidelong glance, what Weisberger takes pages to describe.»[59] Whereas, Baldassare said she «barely carrie[d] the load».[76]
Depiction of fashion industry[edit]
Some media outlets allowed their present or former fashion reporters to weigh in on how realistic the movie was. Their responses varied widely. Booth Moore at Los Angeles Times chided Field for creating a «fine fashion fantasy with little to do with reality,» a world that reflects what outsiders think fashion is like rather than what the industry actually is. Unlike the movie, in her experience fashionistas were less likely to wear makeup and more likely to value edgier dressing styles (that would not include toe rings).[77]
«If they want a documentary, they can watch the History Channel», retorted Field.[78] Fashion writer, Hadley Freeman of The Guardian, likewise complained the film was awash in the sexism and clichés that, to her, beset movies about fashion in general.[79]
But Charla Krupp, the executive editor of SHOP, Inc., wrote, «It’s the first film I’ve seen that got it right … [It] has the nuances of the politics and the tension better than any film—and the backstabbing and sucking-up.»[52] Joanna Coles, the editor of the U.S. edition of Marie Claire, agreed:
The film brilliantly skewers a particular kind of young woman who lives, breathes, thinks fashion above all else … those young women who are prepared to die rather than go without the latest Muse bag from Yves Saint Laurent that costs three times their monthly salary. It’s also accurate in its understanding of the relationship between the editor-in-chief and the assistant.[52]
Ginia Bellefante, former fashion reporter for The New York Times, called it «easily the truest portrayal of fashion culture since Unzipped (1995)» and giving it credit for depicting the way fashion had changed in the early 21st century.[80] Her colleague Ruth La Ferla found a different opinion from industry insiders after a special preview screening. Most found the fashion in the movie too safe and the beauty too overstated, more in tune with the 1980s than the 2000s. «My job is to present an entertainment, a world people can visit and take a little trip,» responded Field.[78]
Commercial[edit]
On its June 30 opening weekend, right before the Independence Day holiday, the film was on 2,847 screens. Through that Sunday, July 2, it grossed $27 million, second only to the big-budget Superman Returns,[81] breaking The Patriot‘s six-year-old record for the largest take by a movie released that holiday weekend that did not win the weekend;[82] a record that stood until Ice Age: Dawn of the Dinosaurs broke it in 2009.[83][c]
During its first week it added $13 million. This success led Fox to add 35 more screens the next weekend, the widest domestic distribution the film enjoyed. Although it was never any week’s top-grossing film, it remained in the top 10 through July. Its theatrical run continued through December 10, shortly before the DVD release.[85]
«The core marketing was definitely to women,» Gabler recalls, «but the men didn’t resist going to the movie.» She felt that male viewers responded favorably to the movie because they sought a glimpse inside fashion, and because Miranda «was enjoyable to watch». The release date helped generate word of mouth when people who had seen it discussed it at holiday gatherings. «They were talking about it, like a summer reading book,» said Gabler.[7]
It had a very successful run in theaters, making nearly $125 million in the United States and Canada and over $325 million worldwide,[1] a career-high for all three top-billed actresses at that time. Streep would surpass it two years later with Mamma Mia[86] while Hathaway exceeded it with 2010’s Alice in Wonderland.[87][d] Blunt would not be in a higher-grossing film until the 2014 movie adaptation of the Broadway musical Into the Woods (also starring Streep).[89]
Anna Wintour, on whom Miranda is supposedly based, was at first skeptical of the film but later came to appreciate it.
It was also Tucci’s highest-grossing film until Captain America: The First Avenger in 2011.[90]
Anna Wintour[edit]
Anna Wintour attended the film’s New York premiere, wearing Prada. Her friend Barbara Amiel reported that she said shortly afterward that the movie would go straight to DVD.[91] McKenna said later that Wintour and her daughter Bee sat in front of her and Frankel. The latter, McKenna recalls, kept telling her mother that the film got many things right.[10]
In an interview with Barbara Walters that aired the day the DVD was released, she called the film «really entertaining» and said she appreciated the «decisive» nature of Streep’s portrayal. «Anything that makes fashion entertaining and glamorous and interesting is wonderful for our industry. So I was 100 percent behind it.»[6] Streep said Wintour was «probably more upset by the book than the film».[92] Wintour’s popularity skyrocketed after her portrayal in The Devil Wears Prada. Streep said she did not base her character in The Devil Wears Prada on Anna Wintour, instead saying she was inspired by men she had known previously: «Unfortunately you don’t have enough women in power, or at least I don’t know them, to copy.»[93]
Frankel believes Wintour may still harbor some hard feelings about the movie. He was again seated behind her some years later at a tennis tournament in Miami, and afterwards introduced himself. When he told her that he had directed The Devil Wears Prada, he recalls, she took her hand out of the handshake.[10]
International[edit]
The movie title in Spanish America (El diablo viste a la moda), English and Spanish (El diablo viste de Prada) in the same typeface as that used on the poster
Weisberger’s novel had been translated into 37 different languages, giving the movie a strong potential foreign audience. The international box office would ultimately deliver 60% of the film’s gross. «We did our European premiere at the Venice Film Festival», Gabler says, where the city’s gondoliers wore red T-shirts with the film’s logo. «So many people around the world were captivated by the glossy fashion world. It was sexy and international.»[7]
The Devil Wears Prada topped the charts on its first major European release weekend on October 9, after a strong September Oceania and Latin America opening. It would be the highest-grossing film that weekend in the United Kingdom, Spain and Russia, taking in $41.5 million overall.[94] Continued strong weekends as it opened across the rest of Europe helped it remain atop the overseas charts for the rest of the month.[95][96][97] By the end of the year only its Chinese opening remained; it was released there at the end of February 2007 and took in $2.4 million.[98]
The greatest portion of the $201.8 million total international box office came from the United Kingdom, with $26.5 million. Germany was next with $23.1 million, followed by Italy at $19.3 million and France at $17.9 million. Outside Europe, Japanese box office was the highest at $14.6 million, followed by Australia at $12.6 million.[98]
Most reviews from the international press echoed the domestic response, heaping praise on Streep and the other actors, but calling the whole film «predictable».[99] The Guardian‘s Peter Bradshaw, who found the film «moderately entertaining,» took Blunt to task, calling her a «real disappointment … strained and awkward».[100] In The Independent, Anthony Quinn said Streep «may just have given us a classic here» and concluded that the film as a whole was «as snappy and juicy as fresh bubblegum».[101]
In most markets the title remained unchanged; either the English was used or a translation into the local language. The only exceptions were Chile, Colombia, Ecuador, Mexico and Venezuela, where it was El diablo que viste Prada and El diablo se viste a la moda. In Poland, the title was Diabeł ubiera się u Prady which roughly means «The Devil dresses (itself) at Prada» rather than «The Devil Wears Prada». In Italian, the title was ″Il diavolo veste Prada» which roughly means «The devil wears Prada». In Turkey, the title was «Şeytan Marka Giyer,» roughly translated as «The Devil Wears Brand-Names». In Romania, the title was «Diavolul se îmbracă de la Prada,» which roughly means «The Devil Dresses itself from Prada», the same construction being found in the French title, «Le Diable s’habille en Prada». The Japanese version is titled «プラダを着た悪魔», which translates as «The devil wearing Prada».
Awards and nominations[edit]
Three months after the film’s North American release (October 2006), Frankel and Weisberger jointly accepted the first Quill Variety Blockbuster Book to Film Award. A committee of staffers at the magazine made the nominations and chose the award winner. Editor Peter Bart praised both works.
The Devil Wears Prada is an energetically directed, perfect-fit of a film that has surprised some in the industry with its box-office legs. It has delighted the country, much as did Lauren Weisberger’s book, which is still going strong on several national bestseller lists.[102]
The film was honored by the National Board of Review as one of the year’s ten best.[103] The American Film Institute gave the film similar recognition.[104]
The film received ample attention from the Hollywood Foreign Press Association when its Golden Globe Award nominations were announced in December. The film itself was in the running for Best Picture (Comedy/Musical) and Supporting Actress (for Blunt). Streep later won the Globe for Best Actress (Musical/Comedy).[105]
In January 2007, Streep’s fellow members of the Screen Actors Guild nominated her for Best Actress as well.[106] Four days later, at the National Society of Film Critics awards, Streep won Best Supporting Actress for her work both in Devil and A Prairie Home Companion.[107] McKenna earned a nomination from the Writers Guild of America Award for Best Adapted Screenplay.[108]
When the British Academy of Film and Television Arts announced its 2006 nominations, Blunt, Field, McKenna and Streep were all among the nominees. Makeup artist and hairstylists Nicki Ledermann and Angel de Angelis also were nominated.[109]
At the end of January, Streep received her 14th Academy Award nomination for Best Actress, lengthening her record from 13 for most nominations by any actor, male or female. Field received a Best Costume Design nomination as well.[110] Neither won, but Blunt and Hathaway presented the last mentioned award, amusing the audience by slipping into their characters for a few lines, nervously asking which of them had gotten Streep her cappuccino. Streep played along with a stern expression before smiling.[111]
| Award | Date of ceremony | Category | Recipient(s) | Result |
|---|---|---|---|---|
| Academy Awards | February 25, 2007 | Best Actress | Meryl Streep | Nominated |
| Best Costume Design | Patricia Field | Nominated | ||
| ACE Eddie Awards | February 18, 2007 | Best Edited Feature Film – Comedy or Musical | Mark Livolsi | Nominated |
| AFI Awards | January 12, 2007 | Movie of the Year | The Devil Wears Prada | Won |
| African-American Film Critics Association Awards | December 22, 2006 | Top 10 Films | Won | |
| Alliance of Women Film Journalists’ EDA Awards | December 2006 | Best Comedy by or About Women | David Frankel | Nominated |
| Best Actress in a Comedic Performance | Meryl Streep | Won | ||
| Best Screenplay Written by a Woman | Aline Brosh McKenna | Nominated | ||
| Awards Circuit Community Awards | December 2006 | Best Actress in a Leading Role | Meryl Streep | Nominated |
| Best Actress in a Supporting Role | Emily Blunt | Nominated | ||
| BMI Film & TV Awards | May 16, 2007 | BMI Film Music | Theodore Shapiro | Won |
| Boston Society of Film Critics Awards | December 11, 2006 | Boston Society of Film Critics Award for Best Supporting Actress | Meryl Streep | Nominated |
| British Academy Film Awards | February 11, 2007 | Best Actress in a Leading Role | Nominated | |
| Best Actress in a Supporting Role | Emily Blunt | Nominated | ||
| Best Adapted Screenplay | Aline Brosh McKenna | Nominated | ||
| Best Costume Design | Patricia Field | Nominated | ||
| Best Makeup and Hair | Nicki Ledermann Angel De Angelis |
Nominated | ||
| Central Ohio Film Critics Association Awards | January 11, 2007 | Best Actress | Meryl Streep | Nominated |
| Chicago Film Critics Association Awards | December 28, 2006 | Best Actress | Nominated | |
| Costume Designers Guild Awards | February 2007 | Excellence in Costume Design for a Contemporary Film | Patricia Field | Nominated |
| Critics’ Choice Awards | January 20, 2007 | Best Comedy | The Devil Wears Prada | Nominated |
| Best Actress | Meryl Streep | Nominated | ||
| Dallas–Fort Worth Film Critics Association Awards | December 19, 2006 | Dallas–Fort Worth Film Critics Association Award for Best Actress | Nominated | |
| Dallas–Fort Worth Film Critics Association Award for Best Supporting Actress | Emily Blunt | Nominated | ||
| Dublin Film Critics’ Circle Awards | December 2006 | Best Supporting Actress | Meryl Streep | Nominated |
| Golden Globe Awards | January 15, 2007 | Best Motion Picture – Musical or Comedy | The Devil Wears Prada | Nominated |
| Best Actress – Motion Picture Musical or Comedy | Meryl Streep | Won | ||
| Best Supporting Actress – Motion Picture | Emily Blunt | Nominated | ||
| Golden Schmoes Awards | December 2006 | Best Supporting Actress of the Year | Nominated | |
| International Online Film Critics’ Poll Awards | January 9, 2011 | Best Actress of the Decade | Meryl Streep | Nominated |
| Italian Online Movie Awards | May 2007 | Best Supporting Actress | Won | |
| Jupiter Awards | March 2007 | Best International Actress | Nominated | |
| Anne Hathaway | Nominated | |||
| London Film Critics’ Circle Awards | February 8, 2007 | Actress of the Year | Meryl Streep | Won |
| British Supporting Actress of the Year | Emily Blunt | Won | ||
| MTV Movie Awards | June 3, 2007 | Best Breakthrough Performance | Nominated | |
| Best Villain | Meryl Streep | Nominated | ||
| Best Comedic Performance | Emily Blunt | Nominated | ||
| MTV Russia Movie Awards | April 19, 2007 | Best International Movie | The Devil Wears Prada | Nominated |
| National Board of Review Awards | January 9, 2007 | Top Ten Films | Won | |
| National Society of Film Critics Awards | January 6, 2007 | Best Supporting Actress | Meryl Streep | Won |
| New York Film Critics Circle Awards | December 11, 2006 | Best Actress | Nominated | |
| North Texas Film Critics Association Awards | January 21, 2007 | Best Actress | Won | |
| Online Film & Television Association Awards | February 10, 2007 | Nominated | ||
| Best Costume Design | Patricia Field | Nominated | ||
| Online Film Critics Society Awards | January 8, 2007 | Best Actress | Meryl Streep | Nominated |
| People’s Choice Awards | January 9, 2007 | Favorite Song from a Movie | «Crazy» – Alanis Morissette | Nominated |
| Rembrandt Awards | March 2007 | Best International Actress | Meryl Streep | Won |
| Satellite Awards | December 18, 2006 | Best Motion Picture – Musical or Comedy | The Devil Wears Prada | Nominated |
| Best Actress – Motion Picture Musical or Comedy | Meryl Streep | Won | ||
| Satellite Award for Best Costume Design | Patricia Field | Won | ||
| Screen Actors Guild Awards | January 28, 2007 | Outstanding Performance by a Female Actor in a Leading Role | Meryl Streep | Nominated |
| St. Louis Gateway Film Critics Association Awards | January 7, 2007 | Best Supporting Actress | Nominated | |
| Teen Choice Awards | August 20, 2006 | Choice Summer Movie: Comedy | The Devil Wears Prada | Nominated |
| Choice Movie: Chemistry | Meryl Streep Anne Hathaway |
Nominated | ||
| Choice Movie: Breakout Star – Female | Emily Blunt | Nominated | ||
| Choice Movie: Villain | Meryl Streep | Nominated | ||
| USC Scripter Awards | February 18, 2007 | Best Screenplay | Aline Brosh McKenna Lauren Weisberger |
Nominated |
| Vancouver Film Critics Circle Awards | January 9, 2007 | Best Supporting Actress | Meryl Streep | Nominated |
| Women Film Critics Circle Awards | December 14, 2006 | Best Comedic Performance | Won | |
| Best Woman Storyteller | Aline Brosh McKenna | Won | ||
| Writers Guild of America Awards | February 11, 2007 | Best Adapted Screenplay | Nominated |
In other media[edit]
The success of the film led to a proposed, but unrealized, American dramedy series that was in contention to air for the 2007–08 television season on Fox. It was to be produced by Fox Television Studios, with the premise adjusted for the confines of a traditional half-hour or one-hour dramedy with a single camera set-up. However, it never reached the point of even producing a pilot episode.[112]
With the video release came renewed interest in Weisberger’s novel. It ranked eighth on USA Today‘s list of 2006 best sellers[113] and was the second most borrowed book in American libraries.[114] The audiobook version was released in October 2006 and quickly made it to third on that medium’s fiction best seller list.[115]
Home media [edit]
The DVD was released on December 12, 2006, and has, in addition to the film, the following extras:[116]
- Audio commentary from Frankel, editor Mark Livolsi, Field, screenwriter Aline Brosh McKenna, producer Wendy Finerman and cinematographer Florian Ballhaus.
- A five-minute blooper reel featuring, among other shots, unintentional pratfalls by Hathaway due to the high stiletto heels she had to wear. It also includes gag shots such as a chubby crewmember in loose-fitting clothing walking along the runway at the fashion show, and Streep announcing «I have some nude photographs to show you» at the Paris brunch scene.[117] Unlike most blooper reels, it is not a collection of sequential takes but rather a fast-paced montage set to music from the film with many backstage shots and a split screenshot allowing the viewer to compare the actual shot with the blooper. The many shots of actors touching their noses are, Rich Sommer says, a game played to assign blame for ruined takes.[118]
- Five featurettes
- «Trip to the Big Screen», a 12-minute look at the film’s pre-production, discussing the changes made from the novel, how Frankel was chosen to direct and other issues.
- «NYC and Fashion», a look at the real New York fashion scene and how it is portrayed in the film.
- «Fashion Visionary Patricia Field», a profile of the film’s costume designer.
- «Getting Valentino», covering how the designer was persuaded to appear as himself in the film.
- «Boss from Hell», a short segment on difficult, nightmarish superiors like Priestly.
- Fifteen deleted scenes, with commentary from Frankel and Livolsi available (see below).
- The theatrical trailer, and promotional spots for the soundtrack album and other releases.
Closed captions in French and Spanish are also available. The DVD is available in both full screen and widescreen versions. Pictures of the cast and the tagline «Hell on Heels» were added to the red-heel image for the cover. It was released in the UK on February 5, 2007.
A Blu-ray Disc of the film was released simultaneously with the DVD. The Blu-ray maintains the same features as the DVD; however, the featurettes were dropped and replaced with a subtitle pop-up trivia track that can be watched by itself or along with the audio commentary.[119]
Reception[edit]
Immediately upon its December 12 release, it became the top rental in the United States. It held that spot through the end of the year, adding another $26.5 million to the film’s grosses; it dropped out of the top 50 at the end of March, with its grosses almost doubling.[120] The following week it made its debut on the DVD sales charts in third position. By the end of 2007 it had sold nearly 5.6 million units, for a total of $94.4 million in sales.[121]
Deleted scenes[edit]
Among the deleted scenes are some that added more background information to the story, with commentary available by the editor and director. Most were deleted by Livolsi in favor of keeping the plot focused on the conflict between Miranda and Andrea, often without consulting Frankel.
Frankel generally approved of his editor’s choices, but differed on one scene, showing more of Andy on her errand to the Calvin Klein showroom. He felt that scene showed Andrea’s job was about more than running personal errands for Miranda.
A different version of the scene at the gala was the subject of a 2017 discussion on Twitter when it was rediscovered by Spencer Althouse, BuzzFeed‘s community manager. In it, instead of Andy reminding Miranda of a guest’s name after the sickened Emily cannot, Miranda’s husband shows up and makes rude comments to not only his wife but Ravitz, the head of Elias-Clark. Andy earns a silent «thank you» from Miranda when she helps prevent the confrontation from escalating by diverting Ravitz with a question of her own.[122]
Althouse and many of the other participants on the thread disagreed as to whether it should have been used; those who said it was properly cut believed that it would have been out of character for Miranda at that point in the film. All agreed, as Glamour wrote, that «[t]his one, brief exchange would have completely changed the movie.»[122]
Cultural impact and legacy[edit]
In 2016, around the 10th anniversary of the film’s release, Vanity Fair did a rundown of some Independence Day weekend movie box results from the previous 15 years, noting how some better-remembered films had been bested by films that have not stood the test of time. It called Superman Returns‘ win over The Devil Wears Prada the «most ironic» of these victories. «[T]he degree to which The Devil Wears Prada has penetrated pop culture needs no explanation–as does the degree to which Superman Returns didn’t.»[123]
The cast’s opinions on why the movie has endured differ. Hathaway told Variety that she thinks many people relate to Andy’s predicament of working for someone who seems impossible to please. «Everybody has had an experience like this.» Tucci did not believe specific explanations were necessary. «It’s a fucking brilliant movie … The brilliant movies become influential, no matter what they are about.»[9]
Cast[edit]
The cast members bonded tightly on the set, and remained close afterwards. Blunt invited them to her wedding to John Krasinski in 2010. There, Tucci met her sister Felicity, whom he later married. «Ten years after The Devil Wears Prada, Stanley is in my actual family,» she told Variety. «How frightening is that?»[9]
In its anniversary story, Variety argued that it had benefited all three of its lead actresses. In addition to Streep’s record-setting Oscar nomination, the magazine observed, it had proven that she could be a box-office draw by herself, opening doors up for her to be cast as a lead in later summer movies such as Mamma Mia! (2008) and Julie & Julia (2009). For Hathaway, it was her first leading role in a film intended for an adult audience. Subsequent producers were impressed that she had held her own playing opposite Streep, which led eventually to her being cast in more serious roles like Rachel Getting Married (2008) and Les Misérables (2012), for which she won an Oscar. «I think what people saw was promising—it made people want to see more.»[9]
Hathaway believes that Blunt’s career took off because of her role. «I’ve never witnessed a star being born before,» Hathaway says. «That’s the first time I watched it happen.» Blunt agrees that it was «a night and day change» for her—the day after the film was released, she told Variety, the staff at the coffee shop she had been going to for breakfast every morning in Los Angeles suddenly recognized her. Even ten years later, people still quote her lines from the film back to her at least once a week, she says.[9]
Audience demographics[edit]
«[The film] definitely paved the way for the filmmakers and distributors of the world to know that there was a female audience that was really strong out there», Gabler recalls, one that was not segmented by age. She pointed to later movies, such as Mamma Mia!, 27 Dresses (2008) (written by McKenna) and Me Before You (2016), that appeared to her to be trying to replicate The Devil Wears Prada‘s success with that demographic. However, Gabler feels they did not do so as well. «Prada reminds me of movies that we don’t have a lot of now—it harkens back to classic movies that had so much more than just one kind of plot line … You just keep wanting to find something that can touch upon the same zeitgeist as this film.»[7]
For Streep, the most significant thing about the film was that «[t]his was the first time, on any movie I have ever made, where men came up to me and said, ‘I know what you felt like, this is kind of like my life.’ That was for me the most ground-breaking thing about Devil Wears Prada—it engaged men on a visceral level,» she told Indiewire.[7]
Popular culture and society[edit]
The film has made a lasting impact on popular culture. Although a TV series based on it was not picked up, in the years after its release The Simpsons titled an episode «The Devil Wears Nada» and parodied some scenes. The American version of The Office began an episode with Steve Carell as Michael Scott imitating Miranda after watching the film on Netflix. On episode 18 of season 14 of Keeping Up with the Kardashians, Kris Jenner dressed as Miranda, channeling her ‘Boss Lady’ persona.[124][125] In 2019, reports that Minnesota Senator Amy Klobuchar, then seeking the Democratic presidential nomination for the 2020 election, mistreated her staff and made unreasonable demands of them led some writers to invoke Miranda as a point of reference.[126][127]
In 2008, The New York Times wrote that the movie had defined the image of a personal assistant in the public mind.[128] Seven years later, Dissent‘s Francesca Mari wrote about «the assistant economy» by which many creative professionals rely on workers so titled to do menial personal and professional tasks for them; she pointed to The Devil Wears Prada as the best-known narrative of assistantship.[129] The next year, writing about a proposed change in U.S. federal overtime regulations that was seen as threatening to that practice, the Times called it the ‘Devil Wears Prada‘ economy»,[130] a term other news outlets also used.[131]
On the film’s 10th anniversary, Alyssa Rosenberg wrote in The Washington Post that Miranda anticipated female antiheroines of popular television series of the later 2000s and 2010s such as Scandal‘s Olivia Pope and Cersei Lannister in Game of Thrones. Like them, she observes, Miranda competently assumes a position of authority often held by male characters, despite her moral failings, that she must defend against attempts to use her personal life to remove her from it, to «prov[e], as a creature of sentiment, that she never belonged there in the first place.» In doing so, however successfully to herself and others, «she has zipped herself into a life as regimented and limited as a skintight pencil skirt.»[132]
Five years later, Harper’s Bazaar, took a different perspective. Mekia Rivas faulted the film’s portrayal of Miranda and Andy’s relationship as reinforcing a false belief that since a young woman may only get one career break, she should take it no matter what she has to put up with from her boss. At the time of the film’s release, «girlbosses» epitomized by Miranda had been seen as potentially revolutionizing the workplace, she noted. But the idea had since been discredited by real-life examples of women like Elizabeth Holmes and Steph Korey who ran companies where workers lived in fear of their bosses’ tempers and whims. Rivas described Miranda as «a totally toxic superior who, in the end, was more interested in upholding the status quo than in reinventing it, despite having all the power and authority to do so. She wanted Andy to believe that saying no to her would be the end of her career, even though she knew Andy had all the potential in the world to make it without her or her connections.»[133]
«Like many instant classics, Prada benefited from perfect timing», Variety‘s 2016 article observed, attempting to explain the film’s enduring appeal. «It marked the beginning of the democratization of the fashion industry—when the masses started to pay attention to the business of what they wore.» It credited the movie with helping stir interest in the American adaptation of the Colombian television series Ugly Betty, which debuted months after its release.[9]
The film also has been credited with increasing interest in R.J. Cutler’s documentary The September Issue, which followed Wintour and other Vogue editors as they prepared the issue for that month of 2007.[9] Writing in The Ringer on the tenth anniversary, Alison Herman observed that «The Devil Wears Prada transformed Wintour’s image from that of a mere public figure into that of a cultural icon.» Once known primarily as a fashion editor, she was now «every overlord you’d ever bitched about three drinks deep at happy hour, only to dutifully fetch her coffee the next day.» Ultimately, the film had effected a positive change in Wintour’s image, Herman argued, «from a tyrant in chinchilla to an idol for the post-Sandberg age».[18]
As the film turned 10, Variety‘s 2016 article stated, ‘[The characterization] showed Hollywood that it was never wise to underestimate a strong woman’s worth.’[134]
Antipathy to Nate[edit]
Miranda has not been the only character in the film to provoke a negative reaction from viewers over time; Nate has been called the film’s «real villain» by some.[10] «He mocks her for her new interest in fashion, he trivializes the magazine she works at, and dismisses her hard work», Entertainment Weekly wrote in 2017, collecting some tweets and other posts from social media critical of the character. Many, like the writer of that piece, found it particularly upsetting that he berated Andy for missing his birthday party even though she had a good work-related reason for her absence.[16]
McKenna defended the character. «[W]hat people focus on is that he’s trying to restrict her ambition,» she told EW. «But her ambition is going towards something that she doesn’t really believe in, so he has a point.» While she admitted he seemed «whiney» about his birthday, McKenna also pointed out that he tells Andy later that that really was not what he was upset about. She gave Grenier credit for what she admitted was a «thankless» role, saying he captured «that actual college boyfriend, that guy who’s a drummer in a cool band, and plays intramural rugby, and plays guitar, and maybe took a ceramics class».[16]
Grenier (shown in 2007) has come to terms with the negative reaction his character has gotten
On the film’s 15th anniversary, Grenier weighed in. «When that whole thing … first came out, I couldn’t get my head around it.» He ultimately came to realize that he had more in the common with the character at the time and, like Nate, had not completely matured. «[Now], after taking time to reflect and much deliberation online, I can realize the truth in that perspective … He couldn’t support her like she needed because he was a fragile, wounded boy.»[10]
Hathaway was more forgiving.
I don’t think everybody’s being completely honest with themselves about their own poutiness. Nate was pouty on his birthday because his girlfriend wasn’t there! In hindsight, I’m sure he wishes he made a different choice, but who doesn’t? We’ve all been brats at different points.[10]
Future[edit]
In 2013, Weisberger wrote a sequel, Revenge Wears Prada. However, it does not seem likely that a film version of it, or any sequel, will be made, as two of the film’s stars are not eager to do so. Streep has reportedly said that she is not interested in making a sequel for this film in particular. And while Hathaway admits she’d be interested in working with the same people, it would have to be «something totally different». The Devil Wears Prada, she told Variety «might have just hit the right note. It’s good to leave it as it is.»[9]
Eight years later, Frankel said that while the studio did not ask them to consider a sequel, a meeting was held to discuss possible ideas. As they felt the movie’s story had been told, and there were no good ideas, the idea was dropped. Weisberger said it was «[not] out of the realm of possibility» and discussions have been held since then, but McKenna notes that the technology involved in producing print magazines has changed considerably since 2006, such that it would no longer be necessary for an assistant in Andrea’s position to bring a physical copy of the magazine in progress to the editor’s residence. «It had its moment!» the screenwriter said.[10]
Musical adaptation[edit]
In 2015, it was reported that Broadway producer Kevin McCollum had signed a deal two years earlier with Fox to develop some of the films from its back catalog into musicals for the stage. Two he expressed particular interest in were Mrs. Doubtfire (1993) and The Devil Wears Prada. Early in 2017, McCollum announced that in partnership with Fox Stage Productions, he was developing a musical version of The Devil Wears Prada (based on both the film and the book). Sir Elton John and Shaina Taub will be writing the score and lyrics for the project with playwright Paul Rudnick, who had written some early scenes for the screenplay,[11] writing the book and lyrics. McCollum did not say when he expected it to premiere but hoped it would eventually play on Broadway.[135]
In July 2019, the show held its first industry-only presentation of the initial reading for the show. It featured Emily Skinner as Miranda, Krystina Alabado as Andy, Heléne Yorke as Emily and Mario Cantone as Nigel.[136] There has been no announcement about future workshops or tryouts before the anticipated Broadway run.[137]
In late September a premiere run was announced for July and August 2020 at the James M. Nederlander Theatre in Chicago. According to producer Kevin McCollum, it was important to director Anna D. Shapiro, artistic director of the Steppenwolf Theater Company, also located in Chicago, to have the show premiere there. Afterwards the show is expected to make its Broadway debut; where and when have not been announced.[138]
See also[edit]
- 2006 in film
Films with similar plot elements[edit]
- The Intern, 2000 comedy about an overworked and mistreated low-level employee at a New York fashion magazine
- Swimming with Sharks, 1994 film starring Kevin Spacey as a tyrannical movie producer and Frank Whaley as his beleaguered assistant
Lists[edit]
- List of 2006 box office number-one films in Australia
- List of 2006 box office number-one films in Japan
- List of 2006 box office number-one films in South Korea
- List of 2006 box office number-one films in the United Kingdom
- List of American comedy films
- List of American films of 2006
- List of awards and nominations received by Anne Hathaway
- List of awards and nominations received by Emily Blunt
- List of awards and nominations received by Meryl Streep
- List of comedy films of the 2000s
- List of fiction works made into feature films (D–J)
- List of film director and composer collaborations
- List of films set in New York City
- List of films set in Paris
Notes[edit]
- ^ In a paper comparing the film’s plot to the Psyche myth, Janet Brennan Croft of the University of Oklahoma says the speech «subverts the idea that fashion, the ultimate in feminine work, is trivial», a presupposition of Andy’s it is Miranda’s role to correct, as it is for Aphrodite in the original myth and similar mother-mentor characters in other «heroine’s journey» narratives: «Miranda’s monologue on the color of Andy’s ‘lumpy blue sweater and its place in a vast economic web (which she is quite frank about personally controlling) celebrates feminine power.»[19]
- ^ Helen Mirren’s hair has also been cited as an inspiration[15]
- ^ To qualify that record slightly, Ice Age narrowly lost that opening weekend to Transformers: Revenge of the Fallen, which unlike Superman Returns had opened the previous week.[83]
The following year, The Last Airbender also exceeded The Devil Wears Prada‘s July 4 opening weekend take without winning the weekend, as did The Purge: Election Year in 2016, but neither film broke Ice Age‘s record.[84]
- ^ In 2008, Get Smart outdid Devil‘s domestic box office but took in far less overseas.[88]
References[edit]
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- ^ a b c d e f g h i j Thompson, Anne (July 1, 2016). «‘The Devil Wears Prada’ At 10: Meryl Streep and More on How Their Risky Project Became a Massive Hit». Indiewire. p. 2. Retrieved July 7, 2016.
- ^ «‘Devil Wears Prada’ will open L.A. Film Festival». Los Angeles Times. May 31, 2006.
- ^ Aline Brosh McKenna. The Devil Wears Prada. Twentieth Century Fox. 2005. p 18.
- ^ a b c d e French, Serena (June 21, 2006). «The $1 Million Wardrobe». New York Post.
- ^ a b Walters, Barbara (December 12, 2006). «The 10 Most Fascinating People of 2006». ABC News. Retrieved June 9, 2018.
- ^ a b c d e f Thompson, Anne (July 1, 2016). «‘The Devil Wears Prada’ At 10: Meryl Streep and More on How Their Risky Project Became a Massive Hit». IndieWire. p. 3. Retrieved June 9, 2018.
- ^ a b c d e f g h i Grove, Martin A. (June 28, 2006). «Oscar-Worthy ‘Devil Wears Prada’ Most Enjoyable Film in Long Time». The Hollywood Reporter. Archived from the original on July 8, 2006. Retrieved July 13, 2016.
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac Setoodeh, Ramin (June 23, 2016). «‘The Devil Wears Prada’ Turns 10: Meryl Streep, Anne Hathaway and Emily Blunt Tell All». Variety. Retrieved July 3, 2016.
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y Nolfi, Joey (June 14, 2021). «The Devil Wears Prada oral history: Cast reunites to dish on making the best-dressed hit». Entertainment Weekly. Retrieved June 24, 2021.
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I wanted the freedom to make this person up
- ^ Weisberger 2003, p. 80.
- ^ Weisberger 2003, p. 204.
- ^ Weisberger 2003, p. 201.
- ^ Weisberger 2003, p. 150–51.
- ^ Hill, Amelia; October 8, 2006; «The secret of success? Kindness»; The Observer; retrieved January 10, 2007.
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- ^ See photos here Archived November 25, 2006, at the Wayback Machine
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- ^ a b Baldassare, Angela. «The Devil Wears Predictability». Archived from the original on June 14, 2007.
- ^ Moore, Booth (June 30, 2006). «This fashion world exists only in the movies». Los Angeles Times. Retrieved June 10, 2018.
- ^ a b La Ferla, Ruth (June 29, 2006). «The Duds of ‘The Devil Wears Prada’«. The New York Times. Retrieved June 10, 2018.
- ^ Freeman, Hadley (September 5, 2006). «Prada and prejudice». The Guardian. Retrieved June 10, 2018.
- ^ Bellafante, Ginia (June 18, 2006). «In ‘The Devil Wears Prada,’ It’s Not Couture, It’s Business (With Accessories)». The New York Times. Retrieved June 10, 2018.
- ^ «June 30–July 2, 2006». Box Office Mojo. Retrieved July 12, 2016.
- ^ «June 30–July 2, 2000». Box Office Mojo. Retrieved July 12, 2016.
- ^ a b «July 3–5, 2009». Box Office Mojo. Retrieved July 12, 2016.
- ^ «Independence Day Weekends». Box Office Mojo. Retrieved July 12, 2016.
- ^ «The Devil Wears Prada». Box Office Mojo. Retrieved July 12, 2016.
- ^ «Meryl Streep Movie Box Office». Boxofficemojo. Retrieved July 12, 2020.
- ^ «Anne Hathaway Movie Box Office». Boxofficemojo. Retrieved July 18, 2020.
- ^ «Get Smart». Boxofficemojo. Retrieved July 5, 2016.
- ^ «Emily Blunt Movie Box Office». Boxofficemojo. Retrieved July 12, 2020.
- ^ «Stanley Tucci Movie Box Office». Boxofficemojo. Retrieved July 12, 2020.
- ^ Amiel, Barbara (July 2, 2006). «The ‘Devil’ I know». The Telegraph. Archived from the original on January 11, 2022. Retrieved June 10, 2018.
- ^ Brockes, Emma (September 23, 2006). «The devil in Ms Streep». The Guardian. Retrieved June 10, 2018.
- ^ Wigham, Helen (June 30, 2011). «Anna Wintour Reaction to The Devil Wears Prada«. Vogue UK. Retrieved November 5, 2017.
- ^ Bresnan, Conor (October 9, 2006). «Around the World Roundup: ‘Prada’ Prances to the Top». Box Office Mojo. Retrieved June 10, 2018.
- ^ Bresnan, Conor (October 16, 2006). «Around the World Roundup: ‘Prada’ Parade Continues». Box Office Mojo. Retrieved January 8, 2007.
- ^ Bresnan, Conor (October 23, 2006). «Around the World Roundup: ‘Prada’ Struts to Third Victory». Box Office Mojo. Retrieved January 8, 2007.
- ^ Bresnan, Conor (October 30, 2006). «Around the World Roundup: ‘Prada’ Still in Vogue». Box Office Mojo. Retrieved January 8, 2007.
- ^ a b «The Devil Wears Prada By Country». Box Office Mojo. Retrieved July 12, 2016.
- ^ French, Philip (October 8, 2006). «The Devil Wears Prada». The Guardian. Retrieved June 10, 2018.
- ^ Bradshaw, Peter (October 5, 2006). «The Devil Wears Prada». The Guardian. Retrieved June 10, 2018.
- ^ Quinn, Anthony (October 6, 2006). «The Devil Wears Prada (PG) Claws out, dressed to kill». The Independent. Archived from the original on November 8, 2006. Retrieved June 10, 2018.
- ^ «The Quill Awards Announce The Devil Wears Prada as First Recipient of Its Variety Blockbuster Book to Film Award» (Press release). New York, NY: The Quills Literacy Foundation. September 26, 2006. Archived from the original on December 17, 2007. Retrieved June 10, 2018.
- ^ «2006 Archives». National Board of Review. Retrieved June 10, 2018.
- ^ «AFI Awards 2006». American Film Institute. Retrieved June 10, 2018.
- ^ «HFPA – Nominations and Winners». Hollywood Foreign Press Association. January 16, 2007. Archived from the original on May 14, 2007. Retrieved January 16, 2007.
- ^ «13th Annual Screen Actors Guild Awards Nominations». Screen Actors Guild. January 4, 2007. Archived from the original on September 7, 2008. Retrieved June 10, 2018.
- ^ Kilday, Gregg (January 8, 2007). «National Society picks ‘Pan’ as best pic». The Hollywood Reporter. Archived from the original on September 30, 2007. Retrieved June 10, 2018.
- ^ «2007 WGA Award nominations». Writers Guild of America. Archived from the original on January 8, 2011. Retrieved January 11, 2007.
- ^ «Film in 2007». British Academy of Film and Television Arts. Retrieved June 10, 2018.
- ^ «The 79th Academy Awards». Academy of Motion Picture Arts and Sciences. Retrieved June 10, 2018.
- ^ Andy Dehnart (February 26, 2007). «Oscar’s best moments weren’t in the script». Today.com. Archived from the original on October 8, 2007. Retrieved June 10, 2018.
- ^ «(October 11, 2006); subscrpition req». Variety. October 11, 2006. Retrieved July 13, 2016.
- ^ Blais, Jacqueline (January 10, 2007). «Hollywood connection makes for best sellers». USA Today. Retrieved July 13, 2016.
- ^ «The Books Most Borrowed in U.S. Libraries». Library Journal. 132 (1): 176. January 1, 2007.
- ^ Maughan, S. (October 2, 2006). «Audio bestsellers/Fiction». Publishers Weekly. p. 19., cited at Spiker.
- ^ «DVD Review: The Devil Wears Prada». Current Film. Archived from the original on February 12, 2007. Retrieved June 10, 2018.
{{cite web}}: CS1 maint: unfit URL (link) - ^ Blooper reel. (2006). The Devil Wears Prada [DVD]. USA: 20th Century Fox.
- ^ Sommer, Rich (January 3, 2007). «Fun». Vox. Archived from the original on January 18, 2008. Retrieved June 10, 2018.
- ^ Bracke, Peter (December 11, 2006). «The Devil Wears Prada Blu-ray Review». Highdef Digest. Retrieved June 10, 2018.
- ^ «The Devil Wears Prada (2006) – DVD/Home Video rentals». Box Office Mojo. Retrieved July 13, 2016.
- ^ «The Devil Wears Prada: Weekly US DVD Sales». The Numbers. Retrieved July 13, 2016.
- ^ a b Weiner, Zoe (August 30, 2017). «This ‘Devil Wears Prada’ Deleted Scene Tells a Completely Different Story». Glamour. Retrieved October 7, 2019.
- ^ Bradley, Laura (July 1, 2016). «Independence Day Weekend Is for Blockbusters, Except When It Isn’t». Vanity Fair. Retrieved July 12, 2016.
- ^ «The Kardashian Sisters Take a Break From Fertility Concerns by Playing Dress-Up». Thecut.com. February 26, 2018.
- ^ «Too Many Miranda Priestlys!KUWTK». YouTube. Archived from the original on October 30, 2021.
- ^ Timson, Judith (February 25, 2019). «Maybe Amy Klobuchar needs to treat staffers better, but she can handle it». Toronto Star. Retrieved October 11, 2019.
- ^ Torres, Monica (February 15, 2019). «How to Tell When Your ‘Tough Boss’ Is Really A Toxic Boss». HuffPost. Retrieved October 11, 2019.
- ^ Rozhon, Tracie (March 18, 2008). «Upstairs, Downstairs and Above the Garage». The New York Times. Retrieved July 6, 2016.
The term ‘personal assistant’ has been degraded over the years and is now almost synonymous with the overworked, underpaid heroine of the movie and book The Devil Wears Prada.
- ^ Mari, Francesca (Spring 2015). «The Assistant Economy». Dissent. Retrieved July 13, 2015.
- ^ Scheiber, Noam (May 30, 2016). «President Obama’s Overtime Pay Plan Threatens the ‘Prada’ Economy». The New York Times. Retrieved July 13, 2016.
- ^ Timberg, Scott (May 31, 2016). «Good riddance to the ‘Devil Wears Prada’ economy: It’s not just exploitative, it’s a diversity killer». Salon. Retrieved July 13, 2016.
- ^ Rosenberg, Alyssa (June 30, 2016). «How ‘The Devil Wears Prada’ foreshadowed an age of antiheroines». The Washington Post. Retrieved July 7, 2016.
- ^ Rivas, Mekita (July 1, 2021). «The Devil Wears Prada and the Myth of the One and Only ‘Big Break’«. Harper’s Bazaar. Retrieved July 14, 2021.
- ^ «‘The Devil Wears Prada’ Turns 10: Meryl Streep, Anne Hathaway and Emily Blunt Tell All». Variety. June 23, 2016.
- ^ Paulson, Michael (January 26, 2017). «‘The Devil Wears Prada’ Is Aiming for Broadway, as a Musical». The New York Times. Retrieved January 27, 2017.
- ^ MacPhee, Ryan (July 2, 2019). «Emily Skinner and Krystina Alabado Starring in The Devil Wears Prada Musical Reading». Playbill. Retrieved October 6, 2019.
- ^ Marine, Brooke (July 2, 2019). «The Devil Wears Prada Musical Casts Its First Reading». W. Retrieved October 6, 2019.
- ^ Jones, Chris (September 17, 2019). «‘The Devil Wears Prada’ musical will premiere in Chicago, with a score by Elton John». Chicago Tribune. Retrieved October 6, 2019.
Book[edit]
Weisberger, Laura (2003). The Devil Wears Prada. New York: Broadway Books. ISBN 0-7679-1476-7.
External links[edit]
- Official website
- The Devil Wears Prada at IMDb
- The Devil Wears Prada at AllMovie
- The Devil Wears Prada at Box Office Mojo
- The Devil Wears Prada at Metacritic
- The Devil Wears Prada at Rotten Tomatoes
| The Devil Wears Prada | |
|---|---|
|
Theatrical release poster |
|
| Directed by | David Frankel |
| Screenplay by | Aline Brosh McKenna |
| Based on | The Devil Wears Prada by Lauren Weisberger |
| Produced by | Wendy Finerman |
| Starring |
|
| Cinematography | Florian Ballhaus |
| Edited by | Mark Livolsi |
| Music by | Theodore Shapiro |
|
Production |
|
| Distributed by | 20th Century Fox |
|
Release dates |
|
|
Running time |
109 minutes |
| Country | United States |
| Language | English |
| Budget | $35–41 million[1][2] |
| Box office | $326.7 million[1] |
The Devil Wears Prada is a 2006 American comedy-drama film directed by David Frankel and produced by Wendy Finerman. The screenplay, written by Aline Brosh McKenna, is based on Lauren Weisberger’s 2003 novel of the same name. The film adaptation stars Meryl Streep as Miranda Priestly, a powerful fashion magazine editor, and Anne Hathaway as Andrea «Andy» Sachs, a college graduate who goes to New York City and lands a job as Priestly’s co-assistant. Emily Blunt and Stanley Tucci co-star as co-assistant Emily Charlton and art director Nigel Kipling, respectively. Simon Baker and Adrian Grenier play pivotal supporting roles.
In 2003, 20th Century Fox bought the rights to a film adaptation of Weisberger’s novel before it was completed for publication; the project was not greenlit until Streep was cast in the lead role. Principal photography lasted 57 days, primarily taking place in New York City from October to December 2005. Additional filming was done in Paris, France.
After premiering at the LA Film Festival on June 22, 2006,[3] The Devil Wears Prada was theatrically released in the United States on June 30. The film received positive reviews from critics, with Streep’s performance being singled out for praise, thus earning her many award nominations, including an Oscar nomination for Best Actress, as well as a Golden Globe for Best Actress in a Comedy or Musical. Hathaway and Blunt also drew favorable reviews and nominations for their performances. The film grossed over $326 million worldwide, against its $41 million budget, and was the 12th highest-grossing film worldwide in 2006.
Although the film is set in the fashion world, and references well-known establishments and people within that industry,[4] most designers and other fashion notables avoided appearing as themselves for fear of displeasing US Vogue editor Anna Wintour, who is widely believed to have been the inspiration for Priestly. Still, many allowed their clothes and accessories to be used in the film, making it one of the most expensively costumed films in history.[5] Wintour later overcame her initial skepticism, saying she liked the film and Streep in particular.[6]
Plot[edit]
Andy Sachs is an aspiring journalist newly graduated from Northwestern University. Despite her ridicule of the fashion industry, she lands a job as junior personal assistant to Miranda Priestly, the editor-in-chief of Runway magazine, a job that «millions of girls would kill for». Andy plans to put up with Miranda’s excessive demands and humiliating treatment for one year in the hopes of getting a job as a reporter or writer somewhere else.
At first, Andy fumbles with her job and fits in poorly with her gossipy, fashion-forward co-workers, especially Miranda’s senior assistant, Emily Charlton. After a dress trial meeting in which Miranda berates her in front of the entire team, she approaches art director Nigel to help her learn the ropes in the world of fashion. She begins to dress stylishly and makes an effort to accommodate all of Miranda’s whims and fancies, which creates problems in her relationship with her boyfriend Nate, who is frustrated that she is always at her new boss’s beck and call.
Miranda notices Andy’s changed appearance and commitment and begins to give her more responsibility and complicated tasks to handle. Slowly but surely, Andy becomes more glamorous and absorbs the Runway philosophy. She gradually outperforms Emily at her job. Emily, meanwhile, is consumed with the thought of attending Paris Fashion Week as Miranda’s assistant, which motivates her to attempt extreme diets which damage her health. When Emily is feeling too unwell to remember important details about the guests at a charity benefit, Andy steps in to save Miranda from embarrassment and is rewarded by being asked to replace Emily as Miranda’s assistant at the Paris Fashion Week. Miranda tells Andy to inform Emily that she will not be going to Paris, but when Andy calls Emily, Emily is hit by a car and ends up in the hospital. Andy then tells the recovering Emily the news and Emily is furious. When Andy tells Nate the news, he is angered that she has become what she once ridiculed and they break up.
In Paris, Andy learns from Miranda about her impending divorce. Later that night, Nigel tells Andy that he has accepted a job as creative director with rising designer James Holt. Andy spends the night with an attractive young writer, Christian Thompson, who tells her that Miranda is to be replaced by Jacqueline Follet as editor of Runway. Feeling bad for Miranda, Andy attempts to warn her but Miranda sends her away.
At a luncheon later that day, Miranda announces Jacqueline as the new creative director to Holt, leaving Andy and Nigel stunned. Later in the car, Miranda explains to Andy that she already knew of the plot to replace her and sacrificed Nigel to keep her own job. When Andy is repulsed, Miranda points out that Andy did the same with Emily by stepping over her and agreeing to go to Paris. When they arrive at their destination, Andy walks away from Miranda and throws her cell phone into the fountain of the Place de la Concorde and returns to New York.
Sometime later, Andy meets up with Nate and apologizes. Nate tells Andy he has a new job as a sous-chef in Boston, and reconcile without rekindling their relationship. The same day, Andy is interviewed and accepted to work at a major New York publication company. The editor recounts how he called Runway for a reference, and was informed by Miranda that while Andy was one of the biggest disappointments she ever had as an assistant, he would be an idiot not to hire her. Andy then calls Emily and reconciles with her by offering her the dresses she obtained in Paris. While passing the Runway office building in the afternoon, Andy makes eye contact with Miranda as she gets into a car. Although Andy waves, Miranda does not acknowledge her but smiles to herself once she is seated in the car.
Cast[edit]
- Meryl Streep as Miranda Priestly
- Anne Hathaway as Andrea «Andy» Sachs
- Emily Blunt as Emily Charlton
- Stanley Tucci as Nigel Kipling
- Simon Baker as Christian Thompson
- Adrian Grenier as Nate Cooper
- Gisele Bündchen as Serena
- Tracie Thoms as Lily
- Rich Sommer as Doug
- Daniel Sunjata as James Holt
- James Naughton as Stephen
- Colleen Dengel as Caroline Priestly
- Suzanne Dengel as Cassidy Priestly
- David Marshall Grant as Richard Sachs
- Tibor Feldman as Irv Ravitz
- Rebecca Mader as Jocelyn
- Alyssa Sutherland as Clacker
- Ines Rivero as Clacker at elevator
- Stéphanie Szostak as Jacqueline Follet
- David Callegati as Massimo
- Paul Keany as St. Regis Doorman
Cameos[edit]
- Valentino Garavani
- Giancarlo Giammetti
- Carlos de Souza
- Bridget Hall
- Lauren Weisberger as the twins’ nanny
- Robert Verdi as a fashion journalist in Paris who interviews Miranda
- Heidi Klum
- Jen Taylor as Lou
- Nigel Barker
Production[edit]
When we made it I was naive. I know now how rare it is to find situations where the stars align.
Director David Frankel and producer Wendy Finerman had originally read The Devil Wears Prada in book proposal form.[8] It would be Frankel’s second theatrical feature, and his first in over a decade. He, cinematographer Florian Ballhaus and costume designer Patricia Field, drew heavily on their experience in making Sex and the City.
Frankel recalls the whole experience as having high stakes for those involved, since for himself and the others behind the camera it was the biggest project they had yet attempted, with barely adequate resources. «We knew we were on very thin ice,» he told Variety for a 2016 article on the film’s 10th anniversary. «It was possible this could be the end of the road for us.»[9]
Weisberger is widely believed to have based Miranda on Anna Wintour, the powerful editor of Vogue, for whom she herself had once worked as a personal assistant. Fear of what Wintour might do in retribution for any visible cooperation with the production posed obstacles, not just in the fashion industry but also in Hollywood.[10]
Pre-production[edit]
Fox bought the rights to Weisberger’s novel before it was not only published in 2003, but even finished. Carla Hacken, then the studio’s executive vice president, had only seen the first hundred pages of manuscript and an outline for how the rest of the plot was to go. But for her that was enough. «I thought Miranda Priestly was one of the greatest villains ever,» she recalled in 2016. «I remember we aggressively went in and scooped it up.»[9]
Writing[edit]
Work on a screenplay started promptly, before Weisberger had even finished her work. When it became a bestseller upon publication, elements of the plot were incorporated into the screenplay in progress. Most took their inspiration from the 2001 Ben Stiller film Zoolander and primarily satirized the fashion industry. But it was still not ready to film. Elizabeth Gabler, later head of production at Fox, noted that the finished novel did not have a complete narrative. «Since there wasn’t a strong third act in the book,» she said later, «we needed to invent that.»[9]
In the meantime, the studio and producer Wendy Finerman sought a director. Out of many candidates with experience in comedy, David Frankel was hired despite his limited experience, having only made one feature, Miami Rhapsody, along with some episodes of Sex and the City and Entourage. He was unsure about the property, calling it «undirectable … a satire rather than a love story».[11] Later, he cited Unzipped, the 1995 documentary about designer Isaac Mizrahi, as his model for the film’s attitude towards fashion: «[It] revels in some of the silliness of the fashion world, but is also very serious.»[12]
At a meeting with Finerman, Frankel told her that he thought the story unnecessarily punished Miranda. «My view was that we should be grateful for excellence. Why do the excellent people have to be nice?»[9] He prepared to move on and consider more scripts. Two days later his manager persuaded him to reconsider and look for something he liked that he could shape the film into. He took the job, giving Finerman extensive notes on the script and laying out a detailed vision for the film.[11]
Four screenwriters worked on the property. Peter Hedges wrote the first draft, but did not think he could do more; another writer passed. Paul Rudnick did some work on Miranda’s scenes, followed by a Don Roos rewrite.[11] After that, Aline Brosh McKenna, who was able to relate her own youthful experiences attempting to launch a journalism career in New York to the story,[11][13] produced a draft after a month’s work that struck the right balance for Finerman and Frankel, whose notes were incorporated into a final version,[9] rearranging the plot significantly, following the book less closely[9] and focusing the story on the conflict between Andy and Miranda.[14] She found the experience of writing a story with female protagonists that did not center around a relationship «very liberating … I felt I was allowed to do what the movie wanted to be, a Faust story, a Wall Street for ladies.»[11]
McKenna also initially toned down Miranda’s meanness at the request of Finerman and Frankel, only to restore it later for Streep.[8] She later cited Don Rickles as her main influence for the insults in the dialogue; before even starting work on the screenplay she had come up with Miranda’s «Take a chance. Hire the smart fat girl» line, which she felt summed up the disparity between Andy and the world she found herself in.[15] Weisberger recalled in 2021, on the film’s 15th anniversary, that McKenna’s draft took it away from the «typical chick flick» direction it was going in.[10]
In a 2017 interview with Entertainment Weekly, McKenna revealed that the character she and Frankel had the most discussions about was Andrea’s boyfriend Nate. She likened his role in the story to that usually played by a male protagonist’s girlfriend or wife who regularly reminds him of responsibilities at home that he has neglected. «[W]e wanted to make sure he wasn’t a pain in the ass, but he is the person who is trying to say, ‘Is this who you want to be morally?'»[16]
McKenna consulted with acquaintances who worked in fashion to make her screenplay more realistic, a task she said later was difficult since many of them did not want to risk offending Wintour.[10] In a 2010 British Academy of Film and Television Arts lecture, she told of a scene that was changed after one of these reviews, where Nigel told Andy not to complain so much about her job. Originally, she had made his speech more of a supportive pep talk, but one of those acquaintances said that would not happen: «[N]o-one in that world is nice to each other … There’s no reason to be, and they don’t have time.» she quoted him as saying.[17]
Cerulean sweater speech[edit]
The cerulean sweater speech
The «cerulean speech»,[18] where Miranda draws the connection between the designer fashion in Runway‘s pages and Andy’s cerulean blue sweater, criticizing Andy’s snobbishness about fashion and explaining the trickle-down effect, had its origins in a scene cut from earlier drafts that Streep had asked to have restored. It slowly grew from a few lines where the editor disparaged her assistant’s fashion sense to a speech about «why she thought fashion was important … She is so aware that she is affecting billions of people, and what they pick off the floor and what they are putting on their bodies in the morning.»[15] Streep said in 2016 she was interested in «the responsibility lying on the shoulders of a woman who was the head of a global brand … That scene wasn’t about the fun of fashion, it was about marketing and business.»[2][a]
McKenna recalls that she kept expanding it to suit Streep and Frankel, but even a few days before it was scheduled to be filmed she was unsure if it would be used or even shot. She was revising it at a nearby Starbucks when she realized that Miranda would describe something not as just blue—chosen as the color for Andy’s sweater since it would work best on screen[15]—but would instead use an exact shade. From a list of shades McKenna sent, Streep picked cerulean; the final speech takes up almost a page of the script,[20] long for a mainstream film. «I was like, it’d be cool if half of that ended up in the movie,» the writer says. «Every word is in the movie.»[21] The references to past designer collections are entirely fictional, McKenna explains, since the speech was written around the sweater’s color[15] (however, the Huffington Post later pointed out, designers often take their fashion inspiration from the streets[22]).
The speech has become one of the film’s most memorable moments; «Miranda’s signature monologue» to The Ringer.[18] «‘Cerulean’ [has never] sounded more sinister,» the Huffington Post wrote in 2016,[22] In 2018 New York Times chief fashion critic Vanessa Friedman invoked the speech in her defense of the importance of covering haute couture:
And it’s not the «Devil Wears Prada» argument, though that does hold true: In a world where everything goes into the Instagram soup and from there seeps into the cultural digestive system, what might appear on a runway in the Musée Rodin (where Dior holds its shows) in July will affect what H&M does in August.[23]
Morwenna Ferrier, a fashion reporter for The Guardian agreed, despite the speech’s references to fictional collections. «As a fashion journalist I can vouch for its gist: that regardless of how immune you think you are to fashion, if you buy clothes, you are indebted to someone else’s choice», she wrote in an article about how the fashion industry continues to embrace the speech’s argument. «Arguing that you are oblivious to trends is a fashion choice in itself.» As an example of how that had happened in reality since the film, she cited the yellow Guo Pei dress Rihanna wore to the 2015 Met Gala, greatly popularizing that color for clothing over the next two years.[24] But a 2021 Study Breaks piece argues that the idea it promotes that fashion always trickles down from a cultural elite is contradicted by brands such as Vetements, which takes its inspiration from everyday streetwear, and Champion, the sportswear brand whose popularity with low-income customers helped make an elite brand those customers can no longer afford.[25]
In 2016, on the film’s 10th anniversary, Mic wrote that the speech’s logic also functioned as a critique of cultural appropriation. «In many ways, Priestley’s monologue nailed the real problem with cultural appropriation: people not understanding the history or meaning behind something like cornrows or headdresses, but treating it like a new trend or accessory anyway.»[26]
Six years later, in a Slate article discussing the appeal of female characters in movies and TV who deliver incisive insults and other commentary with no apparent affect, such as those played by Aubrey Plaza, Nadira Goffe recalled Streep’s «epic, unfeeling monologue» about the sweater as a «perfect example» of the archetype. «In a moment where a character would usually be showing a hint of frustration, anger, or even annoyance, Streep schools Anne Hathaway’s character in a manner that feels as though she barely even thought about the words she was saying», she writes. «It gives her an air of removal, and therefore control—being straight-faced and even-toned in an emotional situation shows how little she cares, or that she’s lying about caring at all.»[27]
Casting[edit]
Once the screenplay was completed, the filmmakers and Fox focused on getting Meryl Streep to play Miranda; Carla Hacken recalled she was seen as so perfect for the part that no one had discussed any alternatives (although McKenna recalls writing provisional dialogue should the producers have had to settle for another actress).[21] Weisberger, who initially could not imagine Streep playing the part, recalled that after seeing her on set it was «crystal clear» that she was perfect for the role.[28] Her casting helped offset some of the difficulties Wintour’s resistance to the film had created.[10]
The news that Streep would meet with Frankel was celebrated at Fox. But while Streep, for her part, knew the film could be very successful, she felt the pay she was being offered for playing Miranda was «slightly, if not insulting, not perhaps reflective of my actual value to the project». The producers doubled it to around $4 million,[2] and she signed on, allowing Fox to greenlight the film.[9] According to Frankel, Streep saw the film as a chance to «skewer the doyennes of the fashion world». She has three daughters and, as an ardent feminist, felt that fashion magazines «twisted the minds of young women around the world and their priorities. This was an interesting way to get back at them.» Also, she said, the film passed the Bechdel test.[2]
She insisted on the cerulean sweater speech,[21] and the scene where Miranda briefly opens up to Andy, without makeup, about her divorce. «I wanted», she explained, «to see that face without its protective glaze, to glimpse the woman in the businesswoman.»[9]
Casting Andy was more difficult. Fox wanted a young A-list actress, and felt Rachel McAdams, then coming off successes in Mean Girls and The Notebook, would help the film’s commercial prospects. McAdams turned down several offers to play Andy, telling the studio she was trying to avoid mainstream Hollywood projects for a while.[9] Claire Danes and Juliette Lewis were among seven other actresses also considered.[29]
Anne Hathaway, by contrast, actively sought the part, tracing «Hire me» in the sand of the zen garden on Hacken’s desk when she talked about the project with the executive. While Frankel liked her enough to not require her to audition, she knew she was not the studio’s first choice and he would have to be patient[9] (other accounts say that she was the only actress considered for the role).[8] Fox production chief Elizabeth Gabler says the studio had not realized how strong her audience was after the Princess Diaries films.[2] In one of their meetings, Gabler recalls Hathaway sitting on her couch giving her notes on the third act. While the studio did not use those notes, «her sensibilities were completely aligned with what we ended up doing.»[10] Hathaway took the part to work with Streep, but also due to some personal aspects.[30] She celebrated when she learned she had gotten the part.[9]
Over 100 actresses had been considered for Emily before one of the casting agents taped Emily Blunt reading some of the lines elsewhere on the Fox lot as she was leaving for her flight to London following her audition for Eragon. Although she read them in her own British accent despite the character being written as American like in the novel, Frankel was interested;[9] Finerman liked her for her sense of humor.[14] After the makers of Eragon cast Sienna Guillory, Frankel called her in the bathroom of «some dive club» in London, where she was consoling herself with her sister. He told her that while he would have cast her just from the tape, the studio wanted to see another audition with her dressed more in character.[9] She insisted on continuing to play the character as British.[31] Both Hathaway and Blunt lost weight for their roles, with Hathaway later recounting that they «would clutch at each other and cry because we were so hungry.»[32] Blunt later denied rumors she did this at the filmmakers’ request.[33][34]
Colleen and Suzanne Dengel, the twins who played Miranda’s daughters, were cast two weeks after auditioning for Frankel and Finerman. The director and producer laughed, which the sisters believed help them get the part. They recalled in 2017 that they were excited both by being able to work together on camera for the first time, as well as the chance to act opposite Hathaway since they were big fans of the Princess Diaries films as well.[35]
Tucci was one of the last actors cast; he agreed to play Nigel only three days before shooting started.[9] «It was just such a beautiful piece of writing, and there’s no way that you could ever say no to such a thing», he recalled.[10] The filmmakers reportedly had auditioned Barney’s creative director Simon Doonan and E!’s Robert Verdi, both openly gay men highly visible as media fashion commentators, for the part; the BBC’s Graham Norton also auditioned[36] from among 150 actors considered for the part.[10] Verdi would later say there was no intention to actually hire him and the producers had just used him and Doonan to give whoever they ultimately did cast some filmed research to use in playing a gay character (he would end up with a walk-on part as a fashion journalist in Paris). Tucci says he was unaware of this: «All I know is that someone called me and I realized this was a great part.» He based the character on various people he was acquainted with, insisting on the glasses he ultimately wore.[37]
Daniel Sunjata had originally read for Tucci’s part, rather unenthusiastically since he had just finished playing a similar character, but then read the Holt part and asked if he could audition for it. Simon Baker auditioned by sending a video of himself, wearing the same self-designed green jacket he has on when he and Andy meet for the first time.
Wintour reportedly warned major fashion designers who had been invited to make cameo appearances as themselves in the film that they would be banished from the magazine’s pages if they did so;[39] Frankel said in 2021 the most any were willing to do was help the production with background information, like allowing visits to their showrooms or giving notes on the authenticity of the script.[10] Vogue and other major women’s and fashion magazines have avoided reviewing or even mentioning the book in their pages. Wintour’s spokespeople deny the claim,[39] but costume designer Patricia Field says many designers told her they did not want to risk Wintour’s wrath.[5]
Only Valentino Garavani, who designed the black evening gown Miranda wears during the museum benefit scene, chose to make an appearance.[39] Coincidentally, he was in New York City during production and Finerman dared Field, an acquaintance, to ask him personally. Much to her surprise, he accepted.[40] Other cameos of note include Heidi Klum as herself and Weisberger as the twins’ nanny. Streep’s daughter’s film debut as a barista at Starbucks was cut. Gisele Bündchen agreed to appear in the film only if she did not play a model.
Filming[edit]
Principal photography took place over 57 days in New York and Paris between October and December 2005. The film’s budget was initially $35 million and was to only include filming in New York.[2] The limited budget caused problems with some locations—the crew could not get permission to shoot at the Museum of Modern Art or Bryant Park,[9] which they also attribute to fear of Wintour. The co-op boards at many apartment buildings also refused to let the production use them for Miranda’s, which Frankel also believes was because of Wintour’s influence.[10]
Ballhaus, at Finerman and Frankel’s suggestion, composed as many shots as possible, whether interiors or exteriors, to at least partially take in busy New York street scenes in the background, to convey the excitement of working in a glamorous industry in New York. He also used a handheld camera during some of the busier meeting scenes in Miranda’s office, to better convey the flow of action, and slow motion for Andrea’s entrance into the office following her makeover. A few process shots were necessary, mainly to put exterior views behind windows on sets and in the Mercedes where Miranda and Andy are having their climactic conversation.
Fox originally refused permission to let Frankel shoot some scenes from the third act in Paris, where it is set, due to the low budget. After six «nightmarish»[2] weeks of shooting, he had an editor cut a «sizzle reel» of highlights. That convinced the studio to increase the budget to allow for limited shooting overseas.[2] Streep did not go as Fox believed it would be too expensive; green screen shots and her body double were used instead.[9][2]
Acting[edit]
Several weeks after all the major parts had been cast, the actors gathered in New York for a table read. Hathaway was nervous and goofy, she recalls, since she still had not developed her idea of the part; she described her performance at that point as «[nothing] particularly impressive». Blunt, by contrast, found Streep’s laugh relaxed her enough to keep her focused on playing a nervous, distracted Emily. The highlight of the session was Streep’s first line as Miranda. Instead of the «strident, bossy, barking voice» everyone expected, Hathaway says, Streep silenced the room by speaking in a near whisper. «It was so unexpected and brilliant.» At the reading Streep also changed Miranda’s last line to «everybody wants to be us» from the original «me».[9]
Streep made a conscious decision not to play the part as a direct impression of Wintour,[43] right down to not using an accent and making the character American rather than English («I felt it was too restricting»).[31] «I think she wanted people not to confuse the character of Miranda Priestly with Anna Wintour at all,» said Frankel. «And that’s why early on in the process she decided on a very different look for her and a different approach to the character.»[8] The «that’s all,»[44] «please bore someone else …»[45] catchphrases; her coat-tossing on Andrea’s desk[46] and discarded steak lunch[47] are retained from the novel. Streep prepared by reading a book by Wintour protégé Liz Tilberis and the memoirs of Vogue editor Diana Vreeland. She lost so much weight during shooting that the clothes had to be taken in.[43]
During the movie’s press tour she also said her performance as Miranda was inspired by different men she knew, but did not say which ones. In 2016 she disclosed to Variety that she took Miranda’s soft speaking style from Clint Eastwood: «He never, ever, ever raises his voice and everyone has to lean in to listen, and he is automatically the most powerful person in the room.» However, she said, Eastwood does not make jokes, so instead she modeled that aspect of the character on theatrical and film director Mike Nichols, whose delivery of a cutting remark, she said, made everyone laugh, including the target. «The walk, I’m afraid, is mine,» Streep added.[9]
For Miranda’s actual look, Streep looked to two women. The bouffant hairstyle was inspired by model and actress Carmen Dell’Orefice,[b] which Streep said she wanted to blend with «the unassailable elegance and authority of [French politician] Christine Lagarde».[9][15] She wanted Miranda’s hair to be white, which the producers feared would make her look too old, but the studio trusted her and she worked with makeup artist and stylist J. Roy Helland, a longtime associate, to create the look.[10]
The costumes Field designed to go with that look resulted in numerous blown takes during the montage where Miranda repeatedly throws her overcoat on Andrea’s desk when she arrives in the morning.[9] When McKenna saw Streep as Miranda for the first time on set, she recalls being so terrified she threw her arm in front of Frankel «like we were in a car wreck».[15]
Hathaway prepared for the part by volunteering for a week as an assistant at an auction house where she was «put through the wringer» according to Weisberger, who adds that Hathaway supplemented that by asking her many questions about working for Wintour.[28] Frankel recalls that she was nervous through most of the shooting, particularly when working late, since Raffaello Follieri, her boyfriend at that time, preferred strongly that she not do so;[9] she was also having health issues due to a cyst.[2] The director said she was «terrified» before starting her first scene with Streep, who had begun her working relationship with Hathaway by saying first «I think you’re perfect for the role and I’m so happy we’re going to be working on this together» then warning her that was the last nice thing she would say.[48] Streep applied this philosophy to everyone else on set as well, keeping her distance from the cast and crew members unless it was necessary to discuss something with them.[35]
The scene where Andy delivers the Book, the mockup of the magazine in progress, to Miranda’s apartment, was, according to the Dengels, who played Miranda’s twin daughters, totally improvised. «That was just something we did with Anne and it made the cut,» Colleen Dengel told BuzzFeed in 2017. Nevertheless, it took three more days of filming to get the shot of the girls up in the stairwell the way Frankel wanted it, a look she believes was inspired by a similar scene with twin girls in The Shining.[35]
Improvisations[edit]
Several of the actors contributed dialogue and scenes to the film. Streep suggested the editorial meeting scene, which does not advance the plot but shows Miranda at work without Andy present. It was also her idea that Miranda not wear makeup in the scene where she opens up to Andy and worries about the effect on her daughters of her divorce becoming public knowledge.[8]
Hathaway suggested taking the kiss between Andy and Nate out of the scene where he makes her a grilled cheese sandwich. «I just don’t think it’s right…just doesn’t feel like we’re at that point in our relationship», Grenier recalls her saying. «There’s too much history.»[10]
Blunt, for her part, contributed the line where she tells Andy «I’m hearing this», while opening and closing her hand, «and I want to hear this» keeping the other one closed. In 2015 she told Howard Stern that she had overheard a mother saying that to a child in a supermarket during production.[50] Bündchen’s «She looks good» upon seeing Andy following her makeover is likewise her improvised addition to the script; she thought it balanced Emily’s meanness to Andy.[10]
Costuming[edit]
Frankel, who had worked with Patricia Field on his feature-film debut Miami Rhapsody as well as Sex and the City, knew that what the cast wore would be of utmost importance in a movie set in the fashion industry. «My approach was to hire her and then leave the room,» he joked later.[51] While only Valentino Garavani appeared onscreen, many other designers were helpful to Field.[52] Frankel recalls that Prada’s decision to assist Field «helped her break the ice».[10]
The $100,000 budget for the film’s costumes was supplemented by help from Field’s friends throughout the industry. Ultimately, she believes, at least $1 million worth of clothing was used in the film, making it one of the most expensively costumed movies in cinema history.[5] The single priciest item was a $100,000 Fred Leighton necklace on Streep,[52] who likened Field’s success in putting the movie’s wardrobe together to the special effects in the Mission: Impossible films.[10]
When Hathaway enters the office after Nigel gives her access to Runway‘s closet, she is dressed entirely in Chanel. Field explained in 2016 that «I felt Annie Hathaway was a Chanel girl organically, as opposed to let’s say a Versace [or Roberto Cavalli] girl.» When she called the company to ask for assistance, they were delighted because «they wanted to see Chanel on a young girl to give it another point of view,» showing it as a brand for «not just middle-aged women in suits, but youthful and funky.»[53] Calvin Klein rounds out Andrea’s wardrobe. Most of the garments seen onscreen were borrowed; Streep recalls not being able to eat spaghetti at lunch while wearing one dress because if it got soiled the production could not return it.[10]
Dolce & Gabbana and Calvin Klein helped Field as well, with some contributions from Lebanese designer Georges Chakra.[55] Although Field avoids making Streep look like Wintour, she dresses her in generous helpings of Prada (By Field’s own estimate, 40 percent of the shoes on Streep’s feet are Prada). «I know her character was originally based on Anna Wintour,» Field said, «but I didn’t want to copy someone’s style.»[56] But, like Wintour and her Vogue predecessor Diana Vreeland, the two realized that Miranda needed a signature look, which was provided primarily by the white wig and forelock she wore as well as the clothes the two spent much time poring over look-books for.[8] «[I]n choosing her wardrobe my idea was that she’s a chief fashion editor, she has her own style,» Fields told Women’s Wear Daily in 2016. «We’re creating an original character.»[57]
Blunt recalls that she and Streep generally wore the shoes that came with their outfits only when they were shown in full. Whenever only their upper bodies needed to be visible, they put on more comfortable footwear like Uggs. Hathaway, by contrast, always wore whatever shoes she had been given. «[She was running] over cobblestone streets like a sure-footed little mountain goat», Blunt recalls.[10]
Field said she avoided prevailing fashion trends for Miranda during production in favor of a more timeless look based on Donna Karan archives and pieces by Michaele Vollbracht for Bill Blass.[5] She did not want people to easily recognize what Miranda was wearing.
Emily Blunt in the look Field created for her character
She contrasted Andy and Emily by giving Andy a sense of style, without much risk-taking, that would suggest clothing a fashion magazine would have on hand for shoots, clothing a recent college graduate with little sense of style would feel comfortable wearing in a fashion-conscious workplace.[5] Blunt, on the other hand was «so on the edge she’s almost falling off».[58] For her, Field chose pieces by Vivienne Westwood and Rick Owens to suggest a taste for funkier, more «underground» clothing. After the film’s release, some of the looks Field chose became popular, to the filmmakers’ amusement.
Tucci praised Field’s skill in putting ensembles together that were not only stylish but helped him develop his character:
She just sort of sits there with her cigarette and her hair, and she would pull stuff—these very disparate elements—and put them together into this ensemble, and you’d go, «Come on, Pat, you can’t wear that with that.» She’d say, «Eh, just try it on.» So you’d put it on, and not only did it work, but it works on so many different levels—and it allows you to figure out who the guy is. Those outfits achieve exactly what I was trying to achieve. There’s flamboyance, there’s real risk-taking, but when I walk into the room, it’s not flashy. It’s actually very subtle. You look at it and you go, «That shirt, that tie, that jacket, that vest? What?» But it works.[37]
He found one Dries van Noten tie he wore during the film to his liking and kept it.[37]
Production design[edit]
After touring some offices of real fashion magazines, Jess Gonchor gave the Runway offices a clean, white look meant to suggest a makeup compact («the chaste beiges and whites of impervious authority,» Denby called it[59]). Miranda’s office bears some strong similarities to the real office of Anna Wintour, down to an octagonal mirror on the wall, photographs and a floral arrangement on the desk.[60] Gonchor later told Women’s Wear Daily that he had based the set on a photo of Wintour’s office he found online; the similarity led Wintour to have her office redecorated after the movie’s release.[61] In 2021, Frankel said Gonchor had actually managed to sneak into Vogue‘s offices to get a look at Wintour’s. «They got it really, really close», Weisberger said.[10]
Gonchor even chose separate computer wallpaper to highlight different aspects of Blunt’s and Hathaway’s character: Paris’s Arc de Triomphe on Blunt’s suggests her aspirations to accompany Miranda to the shows there, while the floral image on Andy’s suggests the natural, unassuming qualities she displays at the outset of her tenure with the magazine. For the photo of Andy with her parents, Hathaway posed with her own mother and David Marshall Grant. The Dengel twins recalled being asked every day for three years straight if the Harry Potter advance copies were real; to their great disappointment they were not and in fact were «all gibberish». They eventually auctioned them for $586 on eBay, along with various clothing used in the film, to benefit Dress for Success, a charity which provides business clothing to help women transition into the workforce.[35][62]
Locations[edit]
New York[edit]
- The 1221 Avenue of the Americas on Sixth Avenue was used for the exteriors and lobby of Elias-Clarke’s headquarters.
- The Runway offices are partially corridors in the neighboring Fox building and partially sets.
- The Elias-Clarke cafeteria is the one at the Reuters office in Manhattan.
- Nate and Andy’s apartment is on the Lower East Side.[63]
- Andy gets on the subway at the Spring Street station and gets off at 51st Street, both on the Lexington Avenue Line.[63]
- Bubby’s,[63] the restaurant Nate works at (and where Andrea, Doug and Lily eat dinner on occasion) is in TriBeCa.
- The Smith & Wollensky steakhouse and its kitchen were used.
- The Calvin Klein showroom is used in the deleted scenes.
- Holt’s studio is a loft used by an actual designer.
- The American Museum of Natural History was used for the exterior of the museum benefit, while the lobby of one of the Foley Square courthouses is used for the interior.
- The Priestly townhouse is on the Upper East Side and belongs to a friend of Finerman’s. It had to be dressed on short notice after another one could not be used.
- Christian gives Andy the unpublished Harry Potter manuscript at the St. Regis Hotel’s King Cole Bar.[63]
- The Amtrak train the twins are taking is going up the Hudson River at Haverstraw Bay.
- Streep exits her limousine, supposedly in Paris, at 77th Street and Central Park West.
- The New York Mirror newsroom where Andy gets hired at the end of the film is that of the now-defunct New York Sun.
- The café where Andy apologizes to Nate was the Mayrose at 920 Broadway (near the Flatiron Building), which has since closed. On its site is a Flying Tiger Copenhagen store.
Paris[edit]
The crew were in Paris for only two days, and used only exteriors. Streep did not make the trip.[8]
- The fountain Andy throws her phone into is on the Place de la Concorde.
- All the hotel interiors are actually the St. Regis in Manhattan. The fashion shows were filmed on a soundstage in Queens. Likewise, Christian’s hotel is the W Hotel at Times Square.
Post-production[edit]
Editing[edit]
Mark Livolsi realized, as McKenna had on the other end, that the film worked best when it focused on the Andrea-Miranda storyline. Accordingly, he cut a number of primarily transitional scenes, such as Andrea’s job interview and the Runway staff’s trip to Holt’s studio. He also took out a scene early on where Miranda complimented Andrea. Upon reviewing them for the DVD, Frankel admitted he had not even seen them before, since Livolsi did not include them in any prints he sent to the director.
Frankel praised Livolsi for making the film’s four key montages—the opening credits, Miranda’s coat-tossing, Andrea’s makeover and the Paris introduction—work. The third was particularly challenging as it uses passing cars and other obstructions to cover Hathaway’s changes of outfit. Some scenes were also created in the editing room, such as the reception at the museum, where Livolsi wove B-roll footage in to keep the action flowing.
In 2021 McKenna estimated that she had signed off on $10 million in cut scenes. An opening scene in which Andy goes to the wrong building on her way to her interview was taken out to get the story started more quickly. The scene where she misses Nate’s birthday was originally more elaborate, with the couple supposed to meet up with their friends at a concert, but that proved to be too expensive, and so the scene with the cupcake was written instead. «We had many versions of that.» And an alternate ending for the couple’s arc, where they have the same conversation about the future of their relationship while running through the park, was filmed but replaced with the less optimistic scene in the restaurant.[10]
McKenna had also been willing to cut Miranda’s «Florals… for spring. Groundbreaking» line, but Frankel had it kept in.[10]
Music[edit]
Composer Theodore Shapiro relied heavily on guitar and percussion, with the backing of a full orchestra, to capture a contemporary urban sound. He ultimately wrote 35 minutes of music for the film, which were performed and recorded by the Hollywood Studio Symphony, conducted by Pete Anthony.[64] His work was balanced with songs by U2 («City of Blinding Lights», Miranda and Andy in Paris), Madonna («Vogue» & «Jump», Andrea’s fashion montage & her first day on the job, respectively), KT Tunstall («Suddenly I See», female montage during opening credits), Alanis Morissette («Crazy», Central Park photo shoot), Bitter:Sweet («Our Remains,» Andy picks up James Holt’s sketches for Miranda; Bittersweet Faith, Lily’s art show), Azure Ray («Sleep,» following the breakdown of her relationship with Nate), Jamiroquai («Seven Days in Sunny June,» Andy and Christian meet at James Holt’s party) among others. Frankel had wanted to use «City of Blinding Lights» in the film after he had used it as a soundtrack to a video montage of Paris scenes he had put together after scouting locations there. Likewise, Field had advocated just as strongly for «Vogue».
The soundtrack album was released on July 11, 2006, by Warner Music. It includes most of the songs mentioned above, as well as a suite of Shapiro’s themes. Among the tracks not included is «Suddenly I See,» an omission which disappointed many fans.[65]
Pre-release and marketing[edit]
Originally intended just to convince Fox to fund some shooting in Paris, Frankel’s sizzle reel led the studio to put a stronger marketing push behind the movie. It moved the release date from February to summer, scheduling it as a lighter alternative audiences could consider to Superman Returns at the end of June 2006, and began to position it as an event movie in and of itself.[9]
Two decisions by the studio’s marketing department that were meant to be preliminary wound up being integral to promoting the film. The first was the creation of the red stiletto heel ending in a pitchfork as the film’s teaser poster. It was so successful and effective, becoming almost «iconic» (in Finerman’s words), that it was used for the actual release poster as well. It became a brand, and was eventually used on every medium related to the film—the tie-in reprinting of the novel and the soundtrack and DVD covers as well.[8]
The studio also put together a trailer of scenes and images strictly from the first three minutes of the film, in which Andy meets Miranda for the first time, to be used at previews and film festivals until they could create a more standard trailer drawing from the whole film. But, again, this proved so effective with early audiences it was retained as the main trailer, since it created anticipation for the rest of the film without giving anything away.[8]
Gabler credits the studio’s marketing team for being «really creative». Fox saw the film as «counter-programming» on the weekend Superman Returns was released. While they knew that the material and Hathaway would help draw a younger female audience that would not be as interested in seeing that film, «[w]e didn’t want it to just seem like a chick flick coming out.»[7]
Reception[edit]
Critical response[edit]
On Rotten Tomatoes the film holds an approval rating of 75% based on 195 reviews, along with an average rating of 6.7/10. The website’s critics consensus reads, «A rare film that surpasses the quality of its source novel, this Devil is a witty expose of New York’s fashion scene, with Meryl Streep in top form and Anne Hathaway more than holding her own.»[66] On Metacritic, the film has a weighted average score of 62 out of 100, based on 40 critics, indicating «generally favorable reviews».[67] Audiences surveyed by CinemaScore gave the film an average grade «B» on an A+ to F scale.[68]
Initial reviews of the film focused primarily on Streep’s performance, praising her for making an extremely unsympathetic character far more complex than she had been in the novel. «With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streep’s Miranda inspires both terror and a measure of awe,» wrote A. O. Scott in The New York Times. «No longer simply the incarnation of evil, she is now a vision of aristocratic, purposeful and surprisingly human grace.»[69]
Kyle Smith agreed at the New York Post: «The snaky Streep wisely chooses not to imitate Vogue editrix Anna Wintour, the inspiration for the book, but creates her own surprisingly believable character.»[70]
David Edelstein, in New York magazine, criticized the film as «thin», but praised Streep for her «fabulous minimalist performance».[71] J. Hoberman, Edelstein’s onetime colleague at The Village Voice, called the movie an improvement on the book and said Streep was «the scariest, most nuanced, funniest movie villainess since Tilda Swinton’s nazified White Witch [in 2005’s The Chronicles of Narnia: The Lion, the Witch and the Wardrobe]».[72]
Blunt, too, earned some favorable notice. «[She] has many of the movie’s best lines and steals nearly every scene she’s in,» wrote Clifford Pugh in the Houston Chronicle.[73] Other reviewers and fans concurred.[74][75] While all critics were in agreement about Streep and Blunt, they pointed to other weaknesses, particularly in the story. Reviewers familiar with Weisberger’s novel assented to her judgment that McKenna’s script greatly improved upon it.[59][69] An exception was Angela Baldassare at The Microsoft Network Canada, who felt the film needed more of the nastiness others had told her was abundant in the novel.[76]
David Denby summed up this response in his New Yorker review: «The Devil Wears Prada tells a familiar story, and it never goes much below the surface of what it has to tell. Still, what a surface!»[59] Reactions to Hathaway’s performance were not as unanimous as for many of her costars. Denby said «she suggests, with no more than a panicky sidelong glance, what Weisberger takes pages to describe.»[59] Whereas, Baldassare said she «barely carrie[d] the load».[76]
Depiction of fashion industry[edit]
Some media outlets allowed their present or former fashion reporters to weigh in on how realistic the movie was. Their responses varied widely. Booth Moore at Los Angeles Times chided Field for creating a «fine fashion fantasy with little to do with reality,» a world that reflects what outsiders think fashion is like rather than what the industry actually is. Unlike the movie, in her experience fashionistas were less likely to wear makeup and more likely to value edgier dressing styles (that would not include toe rings).[77]
«If they want a documentary, they can watch the History Channel», retorted Field.[78] Fashion writer, Hadley Freeman of The Guardian, likewise complained the film was awash in the sexism and clichés that, to her, beset movies about fashion in general.[79]
But Charla Krupp, the executive editor of SHOP, Inc., wrote, «It’s the first film I’ve seen that got it right … [It] has the nuances of the politics and the tension better than any film—and the backstabbing and sucking-up.»[52] Joanna Coles, the editor of the U.S. edition of Marie Claire, agreed:
The film brilliantly skewers a particular kind of young woman who lives, breathes, thinks fashion above all else … those young women who are prepared to die rather than go without the latest Muse bag from Yves Saint Laurent that costs three times their monthly salary. It’s also accurate in its understanding of the relationship between the editor-in-chief and the assistant.[52]
Ginia Bellefante, former fashion reporter for The New York Times, called it «easily the truest portrayal of fashion culture since Unzipped (1995)» and giving it credit for depicting the way fashion had changed in the early 21st century.[80] Her colleague Ruth La Ferla found a different opinion from industry insiders after a special preview screening. Most found the fashion in the movie too safe and the beauty too overstated, more in tune with the 1980s than the 2000s. «My job is to present an entertainment, a world people can visit and take a little trip,» responded Field.[78]
Commercial[edit]
On its June 30 opening weekend, right before the Independence Day holiday, the film was on 2,847 screens. Through that Sunday, July 2, it grossed $27 million, second only to the big-budget Superman Returns,[81] breaking The Patriot‘s six-year-old record for the largest take by a movie released that holiday weekend that did not win the weekend;[82] a record that stood until Ice Age: Dawn of the Dinosaurs broke it in 2009.[83][c]
During its first week it added $13 million. This success led Fox to add 35 more screens the next weekend, the widest domestic distribution the film enjoyed. Although it was never any week’s top-grossing film, it remained in the top 10 through July. Its theatrical run continued through December 10, shortly before the DVD release.[85]
«The core marketing was definitely to women,» Gabler recalls, «but the men didn’t resist going to the movie.» She felt that male viewers responded favorably to the movie because they sought a glimpse inside fashion, and because Miranda «was enjoyable to watch». The release date helped generate word of mouth when people who had seen it discussed it at holiday gatherings. «They were talking about it, like a summer reading book,» said Gabler.[7]
It had a very successful run in theaters, making nearly $125 million in the United States and Canada and over $325 million worldwide,[1] a career-high for all three top-billed actresses at that time. Streep would surpass it two years later with Mamma Mia[86] while Hathaway exceeded it with 2010’s Alice in Wonderland.[87][d] Blunt would not be in a higher-grossing film until the 2014 movie adaptation of the Broadway musical Into the Woods (also starring Streep).[89]
Anna Wintour, on whom Miranda is supposedly based, was at first skeptical of the film but later came to appreciate it.
It was also Tucci’s highest-grossing film until Captain America: The First Avenger in 2011.[90]
Anna Wintour[edit]
Anna Wintour attended the film’s New York premiere, wearing Prada. Her friend Barbara Amiel reported that she said shortly afterward that the movie would go straight to DVD.[91] McKenna said later that Wintour and her daughter Bee sat in front of her and Frankel. The latter, McKenna recalls, kept telling her mother that the film got many things right.[10]
In an interview with Barbara Walters that aired the day the DVD was released, she called the film «really entertaining» and said she appreciated the «decisive» nature of Streep’s portrayal. «Anything that makes fashion entertaining and glamorous and interesting is wonderful for our industry. So I was 100 percent behind it.»[6] Streep said Wintour was «probably more upset by the book than the film».[92] Wintour’s popularity skyrocketed after her portrayal in The Devil Wears Prada. Streep said she did not base her character in The Devil Wears Prada on Anna Wintour, instead saying she was inspired by men she had known previously: «Unfortunately you don’t have enough women in power, or at least I don’t know them, to copy.»[93]
Frankel believes Wintour may still harbor some hard feelings about the movie. He was again seated behind her some years later at a tennis tournament in Miami, and afterwards introduced himself. When he told her that he had directed The Devil Wears Prada, he recalls, she took her hand out of the handshake.[10]
International[edit]
The movie title in Spanish America (El diablo viste a la moda), English and Spanish (El diablo viste de Prada) in the same typeface as that used on the poster
Weisberger’s novel had been translated into 37 different languages, giving the movie a strong potential foreign audience. The international box office would ultimately deliver 60% of the film’s gross. «We did our European premiere at the Venice Film Festival», Gabler says, where the city’s gondoliers wore red T-shirts with the film’s logo. «So many people around the world were captivated by the glossy fashion world. It was sexy and international.»[7]
The Devil Wears Prada topped the charts on its first major European release weekend on October 9, after a strong September Oceania and Latin America opening. It would be the highest-grossing film that weekend in the United Kingdom, Spain and Russia, taking in $41.5 million overall.[94] Continued strong weekends as it opened across the rest of Europe helped it remain atop the overseas charts for the rest of the month.[95][96][97] By the end of the year only its Chinese opening remained; it was released there at the end of February 2007 and took in $2.4 million.[98]
The greatest portion of the $201.8 million total international box office came from the United Kingdom, with $26.5 million. Germany was next with $23.1 million, followed by Italy at $19.3 million and France at $17.9 million. Outside Europe, Japanese box office was the highest at $14.6 million, followed by Australia at $12.6 million.[98]
Most reviews from the international press echoed the domestic response, heaping praise on Streep and the other actors, but calling the whole film «predictable».[99] The Guardian‘s Peter Bradshaw, who found the film «moderately entertaining,» took Blunt to task, calling her a «real disappointment … strained and awkward».[100] In The Independent, Anthony Quinn said Streep «may just have given us a classic here» and concluded that the film as a whole was «as snappy and juicy as fresh bubblegum».[101]
In most markets the title remained unchanged; either the English was used or a translation into the local language. The only exceptions were Chile, Colombia, Ecuador, Mexico and Venezuela, where it was El diablo que viste Prada and El diablo se viste a la moda. In Poland, the title was Diabeł ubiera się u Prady which roughly means «The Devil dresses (itself) at Prada» rather than «The Devil Wears Prada». In Italian, the title was ″Il diavolo veste Prada» which roughly means «The devil wears Prada». In Turkey, the title was «Şeytan Marka Giyer,» roughly translated as «The Devil Wears Brand-Names». In Romania, the title was «Diavolul se îmbracă de la Prada,» which roughly means «The Devil Dresses itself from Prada», the same construction being found in the French title, «Le Diable s’habille en Prada». The Japanese version is titled «プラダを着た悪魔», which translates as «The devil wearing Prada».
Awards and nominations[edit]
Three months after the film’s North American release (October 2006), Frankel and Weisberger jointly accepted the first Quill Variety Blockbuster Book to Film Award. A committee of staffers at the magazine made the nominations and chose the award winner. Editor Peter Bart praised both works.
The Devil Wears Prada is an energetically directed, perfect-fit of a film that has surprised some in the industry with its box-office legs. It has delighted the country, much as did Lauren Weisberger’s book, which is still going strong on several national bestseller lists.[102]
The film was honored by the National Board of Review as one of the year’s ten best.[103] The American Film Institute gave the film similar recognition.[104]
The film received ample attention from the Hollywood Foreign Press Association when its Golden Globe Award nominations were announced in December. The film itself was in the running for Best Picture (Comedy/Musical) and Supporting Actress (for Blunt). Streep later won the Globe for Best Actress (Musical/Comedy).[105]
In January 2007, Streep’s fellow members of the Screen Actors Guild nominated her for Best Actress as well.[106] Four days later, at the National Society of Film Critics awards, Streep won Best Supporting Actress for her work both in Devil and A Prairie Home Companion.[107] McKenna earned a nomination from the Writers Guild of America Award for Best Adapted Screenplay.[108]
When the British Academy of Film and Television Arts announced its 2006 nominations, Blunt, Field, McKenna and Streep were all among the nominees. Makeup artist and hairstylists Nicki Ledermann and Angel de Angelis also were nominated.[109]
At the end of January, Streep received her 14th Academy Award nomination for Best Actress, lengthening her record from 13 for most nominations by any actor, male or female. Field received a Best Costume Design nomination as well.[110] Neither won, but Blunt and Hathaway presented the last mentioned award, amusing the audience by slipping into their characters for a few lines, nervously asking which of them had gotten Streep her cappuccino. Streep played along with a stern expression before smiling.[111]
| Award | Date of ceremony | Category | Recipient(s) | Result |
|---|---|---|---|---|
| Academy Awards | February 25, 2007 | Best Actress | Meryl Streep | Nominated |
| Best Costume Design | Patricia Field | Nominated | ||
| ACE Eddie Awards | February 18, 2007 | Best Edited Feature Film – Comedy or Musical | Mark Livolsi | Nominated |
| AFI Awards | January 12, 2007 | Movie of the Year | The Devil Wears Prada | Won |
| African-American Film Critics Association Awards | December 22, 2006 | Top 10 Films | Won | |
| Alliance of Women Film Journalists’ EDA Awards | December 2006 | Best Comedy by or About Women | David Frankel | Nominated |
| Best Actress in a Comedic Performance | Meryl Streep | Won | ||
| Best Screenplay Written by a Woman | Aline Brosh McKenna | Nominated | ||
| Awards Circuit Community Awards | December 2006 | Best Actress in a Leading Role | Meryl Streep | Nominated |
| Best Actress in a Supporting Role | Emily Blunt | Nominated | ||
| BMI Film & TV Awards | May 16, 2007 | BMI Film Music | Theodore Shapiro | Won |
| Boston Society of Film Critics Awards | December 11, 2006 | Boston Society of Film Critics Award for Best Supporting Actress | Meryl Streep | Nominated |
| British Academy Film Awards | February 11, 2007 | Best Actress in a Leading Role | Nominated | |
| Best Actress in a Supporting Role | Emily Blunt | Nominated | ||
| Best Adapted Screenplay | Aline Brosh McKenna | Nominated | ||
| Best Costume Design | Patricia Field | Nominated | ||
| Best Makeup and Hair | Nicki Ledermann Angel De Angelis |
Nominated | ||
| Central Ohio Film Critics Association Awards | January 11, 2007 | Best Actress | Meryl Streep | Nominated |
| Chicago Film Critics Association Awards | December 28, 2006 | Best Actress | Nominated | |
| Costume Designers Guild Awards | February 2007 | Excellence in Costume Design for a Contemporary Film | Patricia Field | Nominated |
| Critics’ Choice Awards | January 20, 2007 | Best Comedy | The Devil Wears Prada | Nominated |
| Best Actress | Meryl Streep | Nominated | ||
| Dallas–Fort Worth Film Critics Association Awards | December 19, 2006 | Dallas–Fort Worth Film Critics Association Award for Best Actress | Nominated | |
| Dallas–Fort Worth Film Critics Association Award for Best Supporting Actress | Emily Blunt | Nominated | ||
| Dublin Film Critics’ Circle Awards | December 2006 | Best Supporting Actress | Meryl Streep | Nominated |
| Golden Globe Awards | January 15, 2007 | Best Motion Picture – Musical or Comedy | The Devil Wears Prada | Nominated |
| Best Actress – Motion Picture Musical or Comedy | Meryl Streep | Won | ||
| Best Supporting Actress – Motion Picture | Emily Blunt | Nominated | ||
| Golden Schmoes Awards | December 2006 | Best Supporting Actress of the Year | Nominated | |
| International Online Film Critics’ Poll Awards | January 9, 2011 | Best Actress of the Decade | Meryl Streep | Nominated |
| Italian Online Movie Awards | May 2007 | Best Supporting Actress | Won | |
| Jupiter Awards | March 2007 | Best International Actress | Nominated | |
| Anne Hathaway | Nominated | |||
| London Film Critics’ Circle Awards | February 8, 2007 | Actress of the Year | Meryl Streep | Won |
| British Supporting Actress of the Year | Emily Blunt | Won | ||
| MTV Movie Awards | June 3, 2007 | Best Breakthrough Performance | Nominated | |
| Best Villain | Meryl Streep | Nominated | ||
| Best Comedic Performance | Emily Blunt | Nominated | ||
| MTV Russia Movie Awards | April 19, 2007 | Best International Movie | The Devil Wears Prada | Nominated |
| National Board of Review Awards | January 9, 2007 | Top Ten Films | Won | |
| National Society of Film Critics Awards | January 6, 2007 | Best Supporting Actress | Meryl Streep | Won |
| New York Film Critics Circle Awards | December 11, 2006 | Best Actress | Nominated | |
| North Texas Film Critics Association Awards | January 21, 2007 | Best Actress | Won | |
| Online Film & Television Association Awards | February 10, 2007 | Nominated | ||
| Best Costume Design | Patricia Field | Nominated | ||
| Online Film Critics Society Awards | January 8, 2007 | Best Actress | Meryl Streep | Nominated |
| People’s Choice Awards | January 9, 2007 | Favorite Song from a Movie | «Crazy» – Alanis Morissette | Nominated |
| Rembrandt Awards | March 2007 | Best International Actress | Meryl Streep | Won |
| Satellite Awards | December 18, 2006 | Best Motion Picture – Musical or Comedy | The Devil Wears Prada | Nominated |
| Best Actress – Motion Picture Musical or Comedy | Meryl Streep | Won | ||
| Satellite Award for Best Costume Design | Patricia Field | Won | ||
| Screen Actors Guild Awards | January 28, 2007 | Outstanding Performance by a Female Actor in a Leading Role | Meryl Streep | Nominated |
| St. Louis Gateway Film Critics Association Awards | January 7, 2007 | Best Supporting Actress | Nominated | |
| Teen Choice Awards | August 20, 2006 | Choice Summer Movie: Comedy | The Devil Wears Prada | Nominated |
| Choice Movie: Chemistry | Meryl Streep Anne Hathaway |
Nominated | ||
| Choice Movie: Breakout Star – Female | Emily Blunt | Nominated | ||
| Choice Movie: Villain | Meryl Streep | Nominated | ||
| USC Scripter Awards | February 18, 2007 | Best Screenplay | Aline Brosh McKenna Lauren Weisberger |
Nominated |
| Vancouver Film Critics Circle Awards | January 9, 2007 | Best Supporting Actress | Meryl Streep | Nominated |
| Women Film Critics Circle Awards | December 14, 2006 | Best Comedic Performance | Won | |
| Best Woman Storyteller | Aline Brosh McKenna | Won | ||
| Writers Guild of America Awards | February 11, 2007 | Best Adapted Screenplay | Nominated |
In other media[edit]
The success of the film led to a proposed, but unrealized, American dramedy series that was in contention to air for the 2007–08 television season on Fox. It was to be produced by Fox Television Studios, with the premise adjusted for the confines of a traditional half-hour or one-hour dramedy with a single camera set-up. However, it never reached the point of even producing a pilot episode.[112]
With the video release came renewed interest in Weisberger’s novel. It ranked eighth on USA Today‘s list of 2006 best sellers[113] and was the second most borrowed book in American libraries.[114] The audiobook version was released in October 2006 and quickly made it to third on that medium’s fiction best seller list.[115]
Home media [edit]
The DVD was released on December 12, 2006, and has, in addition to the film, the following extras:[116]
- Audio commentary from Frankel, editor Mark Livolsi, Field, screenwriter Aline Brosh McKenna, producer Wendy Finerman and cinematographer Florian Ballhaus.
- A five-minute blooper reel featuring, among other shots, unintentional pratfalls by Hathaway due to the high stiletto heels she had to wear. It also includes gag shots such as a chubby crewmember in loose-fitting clothing walking along the runway at the fashion show, and Streep announcing «I have some nude photographs to show you» at the Paris brunch scene.[117] Unlike most blooper reels, it is not a collection of sequential takes but rather a fast-paced montage set to music from the film with many backstage shots and a split screenshot allowing the viewer to compare the actual shot with the blooper. The many shots of actors touching their noses are, Rich Sommer says, a game played to assign blame for ruined takes.[118]
- Five featurettes
- «Trip to the Big Screen», a 12-minute look at the film’s pre-production, discussing the changes made from the novel, how Frankel was chosen to direct and other issues.
- «NYC and Fashion», a look at the real New York fashion scene and how it is portrayed in the film.
- «Fashion Visionary Patricia Field», a profile of the film’s costume designer.
- «Getting Valentino», covering how the designer was persuaded to appear as himself in the film.
- «Boss from Hell», a short segment on difficult, nightmarish superiors like Priestly.
- Fifteen deleted scenes, with commentary from Frankel and Livolsi available (see below).
- The theatrical trailer, and promotional spots for the soundtrack album and other releases.
Closed captions in French and Spanish are also available. The DVD is available in both full screen and widescreen versions. Pictures of the cast and the tagline «Hell on Heels» were added to the red-heel image for the cover. It was released in the UK on February 5, 2007.
A Blu-ray Disc of the film was released simultaneously with the DVD. The Blu-ray maintains the same features as the DVD; however, the featurettes were dropped and replaced with a subtitle pop-up trivia track that can be watched by itself or along with the audio commentary.[119]
Reception[edit]
Immediately upon its December 12 release, it became the top rental in the United States. It held that spot through the end of the year, adding another $26.5 million to the film’s grosses; it dropped out of the top 50 at the end of March, with its grosses almost doubling.[120] The following week it made its debut on the DVD sales charts in third position. By the end of 2007 it had sold nearly 5.6 million units, for a total of $94.4 million in sales.[121]
Deleted scenes[edit]
Among the deleted scenes are some that added more background information to the story, with commentary available by the editor and director. Most were deleted by Livolsi in favor of keeping the plot focused on the conflict between Miranda and Andrea, often without consulting Frankel.
Frankel generally approved of his editor’s choices, but differed on one scene, showing more of Andy on her errand to the Calvin Klein showroom. He felt that scene showed Andrea’s job was about more than running personal errands for Miranda.
A different version of the scene at the gala was the subject of a 2017 discussion on Twitter when it was rediscovered by Spencer Althouse, BuzzFeed‘s community manager. In it, instead of Andy reminding Miranda of a guest’s name after the sickened Emily cannot, Miranda’s husband shows up and makes rude comments to not only his wife but Ravitz, the head of Elias-Clark. Andy earns a silent «thank you» from Miranda when she helps prevent the confrontation from escalating by diverting Ravitz with a question of her own.[122]
Althouse and many of the other participants on the thread disagreed as to whether it should have been used; those who said it was properly cut believed that it would have been out of character for Miranda at that point in the film. All agreed, as Glamour wrote, that «[t]his one, brief exchange would have completely changed the movie.»[122]
Cultural impact and legacy[edit]
In 2016, around the 10th anniversary of the film’s release, Vanity Fair did a rundown of some Independence Day weekend movie box results from the previous 15 years, noting how some better-remembered films had been bested by films that have not stood the test of time. It called Superman Returns‘ win over The Devil Wears Prada the «most ironic» of these victories. «[T]he degree to which The Devil Wears Prada has penetrated pop culture needs no explanation–as does the degree to which Superman Returns didn’t.»[123]
The cast’s opinions on why the movie has endured differ. Hathaway told Variety that she thinks many people relate to Andy’s predicament of working for someone who seems impossible to please. «Everybody has had an experience like this.» Tucci did not believe specific explanations were necessary. «It’s a fucking brilliant movie … The brilliant movies become influential, no matter what they are about.»[9]
Cast[edit]
The cast members bonded tightly on the set, and remained close afterwards. Blunt invited them to her wedding to John Krasinski in 2010. There, Tucci met her sister Felicity, whom he later married. «Ten years after The Devil Wears Prada, Stanley is in my actual family,» she told Variety. «How frightening is that?»[9]
In its anniversary story, Variety argued that it had benefited all three of its lead actresses. In addition to Streep’s record-setting Oscar nomination, the magazine observed, it had proven that she could be a box-office draw by herself, opening doors up for her to be cast as a lead in later summer movies such as Mamma Mia! (2008) and Julie & Julia (2009). For Hathaway, it was her first leading role in a film intended for an adult audience. Subsequent producers were impressed that she had held her own playing opposite Streep, which led eventually to her being cast in more serious roles like Rachel Getting Married (2008) and Les Misérables (2012), for which she won an Oscar. «I think what people saw was promising—it made people want to see more.»[9]
Hathaway believes that Blunt’s career took off because of her role. «I’ve never witnessed a star being born before,» Hathaway says. «That’s the first time I watched it happen.» Blunt agrees that it was «a night and day change» for her—the day after the film was released, she told Variety, the staff at the coffee shop she had been going to for breakfast every morning in Los Angeles suddenly recognized her. Even ten years later, people still quote her lines from the film back to her at least once a week, she says.[9]
Audience demographics[edit]
«[The film] definitely paved the way for the filmmakers and distributors of the world to know that there was a female audience that was really strong out there», Gabler recalls, one that was not segmented by age. She pointed to later movies, such as Mamma Mia!, 27 Dresses (2008) (written by McKenna) and Me Before You (2016), that appeared to her to be trying to replicate The Devil Wears Prada‘s success with that demographic. However, Gabler feels they did not do so as well. «Prada reminds me of movies that we don’t have a lot of now—it harkens back to classic movies that had so much more than just one kind of plot line … You just keep wanting to find something that can touch upon the same zeitgeist as this film.»[7]
For Streep, the most significant thing about the film was that «[t]his was the first time, on any movie I have ever made, where men came up to me and said, ‘I know what you felt like, this is kind of like my life.’ That was for me the most ground-breaking thing about Devil Wears Prada—it engaged men on a visceral level,» she told Indiewire.[7]
Popular culture and society[edit]
The film has made a lasting impact on popular culture. Although a TV series based on it was not picked up, in the years after its release The Simpsons titled an episode «The Devil Wears Nada» and parodied some scenes. The American version of The Office began an episode with Steve Carell as Michael Scott imitating Miranda after watching the film on Netflix. On episode 18 of season 14 of Keeping Up with the Kardashians, Kris Jenner dressed as Miranda, channeling her ‘Boss Lady’ persona.[124][125] In 2019, reports that Minnesota Senator Amy Klobuchar, then seeking the Democratic presidential nomination for the 2020 election, mistreated her staff and made unreasonable demands of them led some writers to invoke Miranda as a point of reference.[126][127]
In 2008, The New York Times wrote that the movie had defined the image of a personal assistant in the public mind.[128] Seven years later, Dissent‘s Francesca Mari wrote about «the assistant economy» by which many creative professionals rely on workers so titled to do menial personal and professional tasks for them; she pointed to The Devil Wears Prada as the best-known narrative of assistantship.[129] The next year, writing about a proposed change in U.S. federal overtime regulations that was seen as threatening to that practice, the Times called it the ‘Devil Wears Prada‘ economy»,[130] a term other news outlets also used.[131]
On the film’s 10th anniversary, Alyssa Rosenberg wrote in The Washington Post that Miranda anticipated female antiheroines of popular television series of the later 2000s and 2010s such as Scandal‘s Olivia Pope and Cersei Lannister in Game of Thrones. Like them, she observes, Miranda competently assumes a position of authority often held by male characters, despite her moral failings, that she must defend against attempts to use her personal life to remove her from it, to «prov[e], as a creature of sentiment, that she never belonged there in the first place.» In doing so, however successfully to herself and others, «she has zipped herself into a life as regimented and limited as a skintight pencil skirt.»[132]
Five years later, Harper’s Bazaar, took a different perspective. Mekia Rivas faulted the film’s portrayal of Miranda and Andy’s relationship as reinforcing a false belief that since a young woman may only get one career break, she should take it no matter what she has to put up with from her boss. At the time of the film’s release, «girlbosses» epitomized by Miranda had been seen as potentially revolutionizing the workplace, she noted. But the idea had since been discredited by real-life examples of women like Elizabeth Holmes and Steph Korey who ran companies where workers lived in fear of their bosses’ tempers and whims. Rivas described Miranda as «a totally toxic superior who, in the end, was more interested in upholding the status quo than in reinventing it, despite having all the power and authority to do so. She wanted Andy to believe that saying no to her would be the end of her career, even though she knew Andy had all the potential in the world to make it without her or her connections.»[133]
«Like many instant classics, Prada benefited from perfect timing», Variety‘s 2016 article observed, attempting to explain the film’s enduring appeal. «It marked the beginning of the democratization of the fashion industry—when the masses started to pay attention to the business of what they wore.» It credited the movie with helping stir interest in the American adaptation of the Colombian television series Ugly Betty, which debuted months after its release.[9]
The film also has been credited with increasing interest in R.J. Cutler’s documentary The September Issue, which followed Wintour and other Vogue editors as they prepared the issue for that month of 2007.[9] Writing in The Ringer on the tenth anniversary, Alison Herman observed that «The Devil Wears Prada transformed Wintour’s image from that of a mere public figure into that of a cultural icon.» Once known primarily as a fashion editor, she was now «every overlord you’d ever bitched about three drinks deep at happy hour, only to dutifully fetch her coffee the next day.» Ultimately, the film had effected a positive change in Wintour’s image, Herman argued, «from a tyrant in chinchilla to an idol for the post-Sandberg age».[18]
As the film turned 10, Variety‘s 2016 article stated, ‘[The characterization] showed Hollywood that it was never wise to underestimate a strong woman’s worth.’[134]
Antipathy to Nate[edit]
Miranda has not been the only character in the film to provoke a negative reaction from viewers over time; Nate has been called the film’s «real villain» by some.[10] «He mocks her for her new interest in fashion, he trivializes the magazine she works at, and dismisses her hard work», Entertainment Weekly wrote in 2017, collecting some tweets and other posts from social media critical of the character. Many, like the writer of that piece, found it particularly upsetting that he berated Andy for missing his birthday party even though she had a good work-related reason for her absence.[16]
McKenna defended the character. «[W]hat people focus on is that he’s trying to restrict her ambition,» she told EW. «But her ambition is going towards something that she doesn’t really believe in, so he has a point.» While she admitted he seemed «whiney» about his birthday, McKenna also pointed out that he tells Andy later that that really was not what he was upset about. She gave Grenier credit for what she admitted was a «thankless» role, saying he captured «that actual college boyfriend, that guy who’s a drummer in a cool band, and plays intramural rugby, and plays guitar, and maybe took a ceramics class».[16]
Grenier (shown in 2007) has come to terms with the negative reaction his character has gotten
On the film’s 15th anniversary, Grenier weighed in. «When that whole thing … first came out, I couldn’t get my head around it.» He ultimately came to realize that he had more in the common with the character at the time and, like Nate, had not completely matured. «[Now], after taking time to reflect and much deliberation online, I can realize the truth in that perspective … He couldn’t support her like she needed because he was a fragile, wounded boy.»[10]
Hathaway was more forgiving.
I don’t think everybody’s being completely honest with themselves about their own poutiness. Nate was pouty on his birthday because his girlfriend wasn’t there! In hindsight, I’m sure he wishes he made a different choice, but who doesn’t? We’ve all been brats at different points.[10]
Future[edit]
In 2013, Weisberger wrote a sequel, Revenge Wears Prada. However, it does not seem likely that a film version of it, or any sequel, will be made, as two of the film’s stars are not eager to do so. Streep has reportedly said that she is not interested in making a sequel for this film in particular. And while Hathaway admits she’d be interested in working with the same people, it would have to be «something totally different». The Devil Wears Prada, she told Variety «might have just hit the right note. It’s good to leave it as it is.»[9]
Eight years later, Frankel said that while the studio did not ask them to consider a sequel, a meeting was held to discuss possible ideas. As they felt the movie’s story had been told, and there were no good ideas, the idea was dropped. Weisberger said it was «[not] out of the realm of possibility» and discussions have been held since then, but McKenna notes that the technology involved in producing print magazines has changed considerably since 2006, such that it would no longer be necessary for an assistant in Andrea’s position to bring a physical copy of the magazine in progress to the editor’s residence. «It had its moment!» the screenwriter said.[10]
Musical adaptation[edit]
In 2015, it was reported that Broadway producer Kevin McCollum had signed a deal two years earlier with Fox to develop some of the films from its back catalog into musicals for the stage. Two he expressed particular interest in were Mrs. Doubtfire (1993) and The Devil Wears Prada. Early in 2017, McCollum announced that in partnership with Fox Stage Productions, he was developing a musical version of The Devil Wears Prada (based on both the film and the book). Sir Elton John and Shaina Taub will be writing the score and lyrics for the project with playwright Paul Rudnick, who had written some early scenes for the screenplay,[11] writing the book and lyrics. McCollum did not say when he expected it to premiere but hoped it would eventually play on Broadway.[135]
In July 2019, the show held its first industry-only presentation of the initial reading for the show. It featured Emily Skinner as Miranda, Krystina Alabado as Andy, Heléne Yorke as Emily and Mario Cantone as Nigel.[136] There has been no announcement about future workshops or tryouts before the anticipated Broadway run.[137]
In late September a premiere run was announced for July and August 2020 at the James M. Nederlander Theatre in Chicago. According to producer Kevin McCollum, it was important to director Anna D. Shapiro, artistic director of the Steppenwolf Theater Company, also located in Chicago, to have the show premiere there. Afterwards the show is expected to make its Broadway debut; where and when have not been announced.[138]
See also[edit]
- 2006 in film
Films with similar plot elements[edit]
- The Intern, 2000 comedy about an overworked and mistreated low-level employee at a New York fashion magazine
- Swimming with Sharks, 1994 film starring Kevin Spacey as a tyrannical movie producer and Frank Whaley as his beleaguered assistant
Lists[edit]
- List of 2006 box office number-one films in Australia
- List of 2006 box office number-one films in Japan
- List of 2006 box office number-one films in South Korea
- List of 2006 box office number-one films in the United Kingdom
- List of American comedy films
- List of American films of 2006
- List of awards and nominations received by Anne Hathaway
- List of awards and nominations received by Emily Blunt
- List of awards and nominations received by Meryl Streep
- List of comedy films of the 2000s
- List of fiction works made into feature films (D–J)
- List of film director and composer collaborations
- List of films set in New York City
- List of films set in Paris
Notes[edit]
- ^ In a paper comparing the film’s plot to the Psyche myth, Janet Brennan Croft of the University of Oklahoma says the speech «subverts the idea that fashion, the ultimate in feminine work, is trivial», a presupposition of Andy’s it is Miranda’s role to correct, as it is for Aphrodite in the original myth and similar mother-mentor characters in other «heroine’s journey» narratives: «Miranda’s monologue on the color of Andy’s ‘lumpy blue sweater and its place in a vast economic web (which she is quite frank about personally controlling) celebrates feminine power.»[19]
- ^ Helen Mirren’s hair has also been cited as an inspiration[15]
- ^ To qualify that record slightly, Ice Age narrowly lost that opening weekend to Transformers: Revenge of the Fallen, which unlike Superman Returns had opened the previous week.[83]
The following year, The Last Airbender also exceeded The Devil Wears Prada‘s July 4 opening weekend take without winning the weekend, as did The Purge: Election Year in 2016, but neither film broke Ice Age‘s record.[84]
- ^ In 2008, Get Smart outdid Devil‘s domestic box office but took in far less overseas.[88]
References[edit]
- ^ a b c «The Devil Wears Prada». Box Office Mojo. Retrieved July 9, 2016.
- ^ a b c d e f g h i j Thompson, Anne (July 1, 2016). «‘The Devil Wears Prada’ At 10: Meryl Streep and More on How Their Risky Project Became a Massive Hit». Indiewire. p. 2. Retrieved July 7, 2016.
- ^ «‘Devil Wears Prada’ will open L.A. Film Festival». Los Angeles Times. May 31, 2006.
- ^ Aline Brosh McKenna. The Devil Wears Prada. Twentieth Century Fox. 2005. p 18.
- ^ a b c d e French, Serena (June 21, 2006). «The $1 Million Wardrobe». New York Post.
- ^ a b Walters, Barbara (December 12, 2006). «The 10 Most Fascinating People of 2006». ABC News. Retrieved June 9, 2018.
- ^ a b c d e f Thompson, Anne (July 1, 2016). «‘The Devil Wears Prada’ At 10: Meryl Streep and More on How Their Risky Project Became a Massive Hit». IndieWire. p. 3. Retrieved June 9, 2018.
- ^ a b c d e f g h i Grove, Martin A. (June 28, 2006). «Oscar-Worthy ‘Devil Wears Prada’ Most Enjoyable Film in Long Time». The Hollywood Reporter. Archived from the original on July 8, 2006. Retrieved July 13, 2016.
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac Setoodeh, Ramin (June 23, 2016). «‘The Devil Wears Prada’ Turns 10: Meryl Streep, Anne Hathaway and Emily Blunt Tell All». Variety. Retrieved July 3, 2016.
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y Nolfi, Joey (June 14, 2021). «The Devil Wears Prada oral history: Cast reunites to dish on making the best-dressed hit». Entertainment Weekly. Retrieved June 24, 2021.
- ^ a b c d e f Thompson, Anne (July 1, 2016). «‘The Devil Wears Prada’ At 10: Meryl Streep and More on How Their Risky Project Became a Massive Hit». IndieWire. p. 1. Retrieved June 9, 2018.
- ^ Merin, Jennifer (December 13, 2006). «Jennifer Merin interviews David Frankel re ‘The Devil Wears Prada’«. New York Press. Retrieved July 14, 2016 – via Alliance of Women Film Journalists.
- ^ Callaghan, Dylan (2006). «Clothes Encounters». Writers Guild of America, West. Archived from the original on May 27, 2008. Retrieved July 13, 2016.
- ^ a b Finerman, Wendy (2006). «Trip to the Big Screen» on The Devil Wears Prada (DVD). USA: 20th Century Fox.
- ^ a b c d e f g Miller, Julie (June 29, 2016). «How Meryl Streep Terrified The Devil Wears Prada’s Screenwriter». Vanity Fair. Retrieved July 7, 2016.
- ^ a b c Schwarts, Dana (September 28, 2017). «The Devil Wears Prada screenwriter knows everyone hates Nate». Entertainment Weekly. Retrieved October 6, 2019.
- ^ McKenna, Aline Brosh (September 21, 2010). «Aline Brosh McKenna: Screenwriters». British Academy of Film and Television Arts. Archived from the original on September 4, 2013. Retrieved July 6, 2016.
- ^ a b c Herman, Alison (June 30, 2016). «Everybody Wants to Be Us». The Ringer. Retrieved July 9, 2016.
- ^ Croft, Janet Beecher (2012). «Psyche in New York: The Devil Wears Prada Updates the Myth» (PDF). Mythlore. 30 (3/4): 55–69. Retrieved May 16, 2019.
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I wanted the freedom to make this person up
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{{cite web}}: CS1 maint: unfit URL (link) - ^ Blooper reel. (2006). The Devil Wears Prada [DVD]. USA: 20th Century Fox.
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The term ‘personal assistant’ has been degraded over the years and is now almost synonymous with the overworked, underpaid heroine of the movie and book The Devil Wears Prada.
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- ^ Jones, Chris (September 17, 2019). «‘The Devil Wears Prada’ musical will premiere in Chicago, with a score by Elton John». Chicago Tribune. Retrieved October 6, 2019.
Book[edit]
Weisberger, Laura (2003). The Devil Wears Prada. New York: Broadway Books. ISBN 0-7679-1476-7.
External links[edit]
- Official website
- The Devil Wears Prada at IMDb
- The Devil Wears Prada at AllMovie
- The Devil Wears Prada at Box Office Mojo
- The Devil Wears Prada at Metacritic
- The Devil Wears Prada at Rotten Tomatoes
| The Devil Wears Prada | |
|---|---|
|
Theatrical release poster |
|
| Directed by | David Frankel |
| Screenplay by | Aline Brosh McKenna |
| Based on | The Devil Wears Prada by Lauren Weisberger |
| Produced by | Wendy Finerman |
| Starring |
|
| Cinematography | Florian Ballhaus |
| Edited by | Mark Livolsi |
| Music by | Theodore Shapiro |
|
Production |
|
| Distributed by | 20th Century Fox |
|
Release dates |
|
|
Running time |
109 minutes |
| Country | United States |
| Language | English |
| Budget | $35–41 million[1][2] |
| Box office | $326.7 million[1] |
The Devil Wears Prada is a 2006 American comedy-drama film directed by David Frankel and produced by Wendy Finerman. The screenplay, written by Aline Brosh McKenna, is based on Lauren Weisberger’s 2003 novel of the same name. The film adaptation stars Meryl Streep as Miranda Priestly, a powerful fashion magazine editor, and Anne Hathaway as Andrea «Andy» Sachs, a college graduate who goes to New York City and lands a job as Priestly’s co-assistant. Emily Blunt and Stanley Tucci co-star as co-assistant Emily Charlton and art director Nigel Kipling, respectively. Simon Baker and Adrian Grenier play pivotal supporting roles.
In 2003, 20th Century Fox bought the rights to a film adaptation of Weisberger’s novel before it was completed for publication; the project was not greenlit until Streep was cast in the lead role. Principal photography lasted 57 days, primarily taking place in New York City from October to December 2005. Additional filming was done in Paris, France.
After premiering at the LA Film Festival on June 22, 2006,[3] The Devil Wears Prada was theatrically released in the United States on June 30. The film received positive reviews from critics, with Streep’s performance being singled out for praise, thus earning her many award nominations, including an Oscar nomination for Best Actress, as well as a Golden Globe for Best Actress in a Comedy or Musical. Hathaway and Blunt also drew favorable reviews and nominations for their performances. The film grossed over $326 million worldwide, against its $41 million budget, and was the 12th highest-grossing film worldwide in 2006.
Although the film is set in the fashion world, and references well-known establishments and people within that industry,[4] most designers and other fashion notables avoided appearing as themselves for fear of displeasing US Vogue editor Anna Wintour, who is widely believed to have been the inspiration for Priestly. Still, many allowed their clothes and accessories to be used in the film, making it one of the most expensively costumed films in history.[5] Wintour later overcame her initial skepticism, saying she liked the film and Streep in particular.[6]
Plot[edit]
Andy Sachs is an aspiring journalist newly graduated from Northwestern University. Despite her ridicule of the fashion industry, she lands a job as junior personal assistant to Miranda Priestly, the editor-in-chief of Runway magazine, a job that «millions of girls would kill for». Andy plans to put up with Miranda’s excessive demands and humiliating treatment for one year in the hopes of getting a job as a reporter or writer somewhere else.
At first, Andy fumbles with her job and fits in poorly with her gossipy, fashion-forward co-workers, especially Miranda’s senior assistant, Emily Charlton. After a dress trial meeting in which Miranda berates her in front of the entire team, she approaches art director Nigel to help her learn the ropes in the world of fashion. She begins to dress stylishly and makes an effort to accommodate all of Miranda’s whims and fancies, which creates problems in her relationship with her boyfriend Nate, who is frustrated that she is always at her new boss’s beck and call.
Miranda notices Andy’s changed appearance and commitment and begins to give her more responsibility and complicated tasks to handle. Slowly but surely, Andy becomes more glamorous and absorbs the Runway philosophy. She gradually outperforms Emily at her job. Emily, meanwhile, is consumed with the thought of attending Paris Fashion Week as Miranda’s assistant, which motivates her to attempt extreme diets which damage her health. When Emily is feeling too unwell to remember important details about the guests at a charity benefit, Andy steps in to save Miranda from embarrassment and is rewarded by being asked to replace Emily as Miranda’s assistant at the Paris Fashion Week. Miranda tells Andy to inform Emily that she will not be going to Paris, but when Andy calls Emily, Emily is hit by a car and ends up in the hospital. Andy then tells the recovering Emily the news and Emily is furious. When Andy tells Nate the news, he is angered that she has become what she once ridiculed and they break up.
In Paris, Andy learns from Miranda about her impending divorce. Later that night, Nigel tells Andy that he has accepted a job as creative director with rising designer James Holt. Andy spends the night with an attractive young writer, Christian Thompson, who tells her that Miranda is to be replaced by Jacqueline Follet as editor of Runway. Feeling bad for Miranda, Andy attempts to warn her but Miranda sends her away.
At a luncheon later that day, Miranda announces Jacqueline as the new creative director to Holt, leaving Andy and Nigel stunned. Later in the car, Miranda explains to Andy that she already knew of the plot to replace her and sacrificed Nigel to keep her own job. When Andy is repulsed, Miranda points out that Andy did the same with Emily by stepping over her and agreeing to go to Paris. When they arrive at their destination, Andy walks away from Miranda and throws her cell phone into the fountain of the Place de la Concorde and returns to New York.
Sometime later, Andy meets up with Nate and apologizes. Nate tells Andy he has a new job as a sous-chef in Boston, and reconcile without rekindling their relationship. The same day, Andy is interviewed and accepted to work at a major New York publication company. The editor recounts how he called Runway for a reference, and was informed by Miranda that while Andy was one of the biggest disappointments she ever had as an assistant, he would be an idiot not to hire her. Andy then calls Emily and reconciles with her by offering her the dresses she obtained in Paris. While passing the Runway office building in the afternoon, Andy makes eye contact with Miranda as she gets into a car. Although Andy waves, Miranda does not acknowledge her but smiles to herself once she is seated in the car.
Cast[edit]
- Meryl Streep as Miranda Priestly
- Anne Hathaway as Andrea «Andy» Sachs
- Emily Blunt as Emily Charlton
- Stanley Tucci as Nigel Kipling
- Simon Baker as Christian Thompson
- Adrian Grenier as Nate Cooper
- Gisele Bündchen as Serena
- Tracie Thoms as Lily
- Rich Sommer as Doug
- Daniel Sunjata as James Holt
- James Naughton as Stephen
- Colleen Dengel as Caroline Priestly
- Suzanne Dengel as Cassidy Priestly
- David Marshall Grant as Richard Sachs
- Tibor Feldman as Irv Ravitz
- Rebecca Mader as Jocelyn
- Alyssa Sutherland as Clacker
- Ines Rivero as Clacker at elevator
- Stéphanie Szostak as Jacqueline Follet
- David Callegati as Massimo
- Paul Keany as St. Regis Doorman
Cameos[edit]
- Valentino Garavani
- Giancarlo Giammetti
- Carlos de Souza
- Bridget Hall
- Lauren Weisberger as the twins’ nanny
- Robert Verdi as a fashion journalist in Paris who interviews Miranda
- Heidi Klum
- Jen Taylor as Lou
- Nigel Barker
Production[edit]
When we made it I was naive. I know now how rare it is to find situations where the stars align.
Director David Frankel and producer Wendy Finerman had originally read The Devil Wears Prada in book proposal form.[8] It would be Frankel’s second theatrical feature, and his first in over a decade. He, cinematographer Florian Ballhaus and costume designer Patricia Field, drew heavily on their experience in making Sex and the City.
Frankel recalls the whole experience as having high stakes for those involved, since for himself and the others behind the camera it was the biggest project they had yet attempted, with barely adequate resources. «We knew we were on very thin ice,» he told Variety for a 2016 article on the film’s 10th anniversary. «It was possible this could be the end of the road for us.»[9]
Weisberger is widely believed to have based Miranda on Anna Wintour, the powerful editor of Vogue, for whom she herself had once worked as a personal assistant. Fear of what Wintour might do in retribution for any visible cooperation with the production posed obstacles, not just in the fashion industry but also in Hollywood.[10]
Pre-production[edit]
Fox bought the rights to Weisberger’s novel before it was not only published in 2003, but even finished. Carla Hacken, then the studio’s executive vice president, had only seen the first hundred pages of manuscript and an outline for how the rest of the plot was to go. But for her that was enough. «I thought Miranda Priestly was one of the greatest villains ever,» she recalled in 2016. «I remember we aggressively went in and scooped it up.»[9]
Writing[edit]
Work on a screenplay started promptly, before Weisberger had even finished her work. When it became a bestseller upon publication, elements of the plot were incorporated into the screenplay in progress. Most took their inspiration from the 2001 Ben Stiller film Zoolander and primarily satirized the fashion industry. But it was still not ready to film. Elizabeth Gabler, later head of production at Fox, noted that the finished novel did not have a complete narrative. «Since there wasn’t a strong third act in the book,» she said later, «we needed to invent that.»[9]
In the meantime, the studio and producer Wendy Finerman sought a director. Out of many candidates with experience in comedy, David Frankel was hired despite his limited experience, having only made one feature, Miami Rhapsody, along with some episodes of Sex and the City and Entourage. He was unsure about the property, calling it «undirectable … a satire rather than a love story».[11] Later, he cited Unzipped, the 1995 documentary about designer Isaac Mizrahi, as his model for the film’s attitude towards fashion: «[It] revels in some of the silliness of the fashion world, but is also very serious.»[12]
At a meeting with Finerman, Frankel told her that he thought the story unnecessarily punished Miranda. «My view was that we should be grateful for excellence. Why do the excellent people have to be nice?»[9] He prepared to move on and consider more scripts. Two days later his manager persuaded him to reconsider and look for something he liked that he could shape the film into. He took the job, giving Finerman extensive notes on the script and laying out a detailed vision for the film.[11]
Four screenwriters worked on the property. Peter Hedges wrote the first draft, but did not think he could do more; another writer passed. Paul Rudnick did some work on Miranda’s scenes, followed by a Don Roos rewrite.[11] After that, Aline Brosh McKenna, who was able to relate her own youthful experiences attempting to launch a journalism career in New York to the story,[11][13] produced a draft after a month’s work that struck the right balance for Finerman and Frankel, whose notes were incorporated into a final version,[9] rearranging the plot significantly, following the book less closely[9] and focusing the story on the conflict between Andy and Miranda.[14] She found the experience of writing a story with female protagonists that did not center around a relationship «very liberating … I felt I was allowed to do what the movie wanted to be, a Faust story, a Wall Street for ladies.»[11]
McKenna also initially toned down Miranda’s meanness at the request of Finerman and Frankel, only to restore it later for Streep.[8] She later cited Don Rickles as her main influence for the insults in the dialogue; before even starting work on the screenplay she had come up with Miranda’s «Take a chance. Hire the smart fat girl» line, which she felt summed up the disparity between Andy and the world she found herself in.[15] Weisberger recalled in 2021, on the film’s 15th anniversary, that McKenna’s draft took it away from the «typical chick flick» direction it was going in.[10]
In a 2017 interview with Entertainment Weekly, McKenna revealed that the character she and Frankel had the most discussions about was Andrea’s boyfriend Nate. She likened his role in the story to that usually played by a male protagonist’s girlfriend or wife who regularly reminds him of responsibilities at home that he has neglected. «[W]e wanted to make sure he wasn’t a pain in the ass, but he is the person who is trying to say, ‘Is this who you want to be morally?'»[16]
McKenna consulted with acquaintances who worked in fashion to make her screenplay more realistic, a task she said later was difficult since many of them did not want to risk offending Wintour.[10] In a 2010 British Academy of Film and Television Arts lecture, she told of a scene that was changed after one of these reviews, where Nigel told Andy not to complain so much about her job. Originally, she had made his speech more of a supportive pep talk, but one of those acquaintances said that would not happen: «[N]o-one in that world is nice to each other … There’s no reason to be, and they don’t have time.» she quoted him as saying.[17]
Cerulean sweater speech[edit]
The cerulean sweater speech
The «cerulean speech»,[18] where Miranda draws the connection between the designer fashion in Runway‘s pages and Andy’s cerulean blue sweater, criticizing Andy’s snobbishness about fashion and explaining the trickle-down effect, had its origins in a scene cut from earlier drafts that Streep had asked to have restored. It slowly grew from a few lines where the editor disparaged her assistant’s fashion sense to a speech about «why she thought fashion was important … She is so aware that she is affecting billions of people, and what they pick off the floor and what they are putting on their bodies in the morning.»[15] Streep said in 2016 she was interested in «the responsibility lying on the shoulders of a woman who was the head of a global brand … That scene wasn’t about the fun of fashion, it was about marketing and business.»[2][a]
McKenna recalls that she kept expanding it to suit Streep and Frankel, but even a few days before it was scheduled to be filmed she was unsure if it would be used or even shot. She was revising it at a nearby Starbucks when she realized that Miranda would describe something not as just blue—chosen as the color for Andy’s sweater since it would work best on screen[15]—but would instead use an exact shade. From a list of shades McKenna sent, Streep picked cerulean; the final speech takes up almost a page of the script,[20] long for a mainstream film. «I was like, it’d be cool if half of that ended up in the movie,» the writer says. «Every word is in the movie.»[21] The references to past designer collections are entirely fictional, McKenna explains, since the speech was written around the sweater’s color[15] (however, the Huffington Post later pointed out, designers often take their fashion inspiration from the streets[22]).
The speech has become one of the film’s most memorable moments; «Miranda’s signature monologue» to The Ringer.[18] «‘Cerulean’ [has never] sounded more sinister,» the Huffington Post wrote in 2016,[22] In 2018 New York Times chief fashion critic Vanessa Friedman invoked the speech in her defense of the importance of covering haute couture:
And it’s not the «Devil Wears Prada» argument, though that does hold true: In a world where everything goes into the Instagram soup and from there seeps into the cultural digestive system, what might appear on a runway in the Musée Rodin (where Dior holds its shows) in July will affect what H&M does in August.[23]
Morwenna Ferrier, a fashion reporter for The Guardian agreed, despite the speech’s references to fictional collections. «As a fashion journalist I can vouch for its gist: that regardless of how immune you think you are to fashion, if you buy clothes, you are indebted to someone else’s choice», she wrote in an article about how the fashion industry continues to embrace the speech’s argument. «Arguing that you are oblivious to trends is a fashion choice in itself.» As an example of how that had happened in reality since the film, she cited the yellow Guo Pei dress Rihanna wore to the 2015 Met Gala, greatly popularizing that color for clothing over the next two years.[24] But a 2021 Study Breaks piece argues that the idea it promotes that fashion always trickles down from a cultural elite is contradicted by brands such as Vetements, which takes its inspiration from everyday streetwear, and Champion, the sportswear brand whose popularity with low-income customers helped make an elite brand those customers can no longer afford.[25]
In 2016, on the film’s 10th anniversary, Mic wrote that the speech’s logic also functioned as a critique of cultural appropriation. «In many ways, Priestley’s monologue nailed the real problem with cultural appropriation: people not understanding the history or meaning behind something like cornrows or headdresses, but treating it like a new trend or accessory anyway.»[26]
Six years later, in a Slate article discussing the appeal of female characters in movies and TV who deliver incisive insults and other commentary with no apparent affect, such as those played by Aubrey Plaza, Nadira Goffe recalled Streep’s «epic, unfeeling monologue» about the sweater as a «perfect example» of the archetype. «In a moment where a character would usually be showing a hint of frustration, anger, or even annoyance, Streep schools Anne Hathaway’s character in a manner that feels as though she barely even thought about the words she was saying», she writes. «It gives her an air of removal, and therefore control—being straight-faced and even-toned in an emotional situation shows how little she cares, or that she’s lying about caring at all.»[27]
Casting[edit]
Once the screenplay was completed, the filmmakers and Fox focused on getting Meryl Streep to play Miranda; Carla Hacken recalled she was seen as so perfect for the part that no one had discussed any alternatives (although McKenna recalls writing provisional dialogue should the producers have had to settle for another actress).[21] Weisberger, who initially could not imagine Streep playing the part, recalled that after seeing her on set it was «crystal clear» that she was perfect for the role.[28] Her casting helped offset some of the difficulties Wintour’s resistance to the film had created.[10]
The news that Streep would meet with Frankel was celebrated at Fox. But while Streep, for her part, knew the film could be very successful, she felt the pay she was being offered for playing Miranda was «slightly, if not insulting, not perhaps reflective of my actual value to the project». The producers doubled it to around $4 million,[2] and she signed on, allowing Fox to greenlight the film.[9] According to Frankel, Streep saw the film as a chance to «skewer the doyennes of the fashion world». She has three daughters and, as an ardent feminist, felt that fashion magazines «twisted the minds of young women around the world and their priorities. This was an interesting way to get back at them.» Also, she said, the film passed the Bechdel test.[2]
She insisted on the cerulean sweater speech,[21] and the scene where Miranda briefly opens up to Andy, without makeup, about her divorce. «I wanted», she explained, «to see that face without its protective glaze, to glimpse the woman in the businesswoman.»[9]
Casting Andy was more difficult. Fox wanted a young A-list actress, and felt Rachel McAdams, then coming off successes in Mean Girls and The Notebook, would help the film’s commercial prospects. McAdams turned down several offers to play Andy, telling the studio she was trying to avoid mainstream Hollywood projects for a while.[9] Claire Danes and Juliette Lewis were among seven other actresses also considered.[29]
Anne Hathaway, by contrast, actively sought the part, tracing «Hire me» in the sand of the zen garden on Hacken’s desk when she talked about the project with the executive. While Frankel liked her enough to not require her to audition, she knew she was not the studio’s first choice and he would have to be patient[9] (other accounts say that she was the only actress considered for the role).[8] Fox production chief Elizabeth Gabler says the studio had not realized how strong her audience was after the Princess Diaries films.[2] In one of their meetings, Gabler recalls Hathaway sitting on her couch giving her notes on the third act. While the studio did not use those notes, «her sensibilities were completely aligned with what we ended up doing.»[10] Hathaway took the part to work with Streep, but also due to some personal aspects.[30] She celebrated when she learned she had gotten the part.[9]
Over 100 actresses had been considered for Emily before one of the casting agents taped Emily Blunt reading some of the lines elsewhere on the Fox lot as she was leaving for her flight to London following her audition for Eragon. Although she read them in her own British accent despite the character being written as American like in the novel, Frankel was interested;[9] Finerman liked her for her sense of humor.[14] After the makers of Eragon cast Sienna Guillory, Frankel called her in the bathroom of «some dive club» in London, where she was consoling herself with her sister. He told her that while he would have cast her just from the tape, the studio wanted to see another audition with her dressed more in character.[9] She insisted on continuing to play the character as British.[31] Both Hathaway and Blunt lost weight for their roles, with Hathaway later recounting that they «would clutch at each other and cry because we were so hungry.»[32] Blunt later denied rumors she did this at the filmmakers’ request.[33][34]
Colleen and Suzanne Dengel, the twins who played Miranda’s daughters, were cast two weeks after auditioning for Frankel and Finerman. The director and producer laughed, which the sisters believed help them get the part. They recalled in 2017 that they were excited both by being able to work together on camera for the first time, as well as the chance to act opposite Hathaway since they were big fans of the Princess Diaries films as well.[35]
Tucci was one of the last actors cast; he agreed to play Nigel only three days before shooting started.[9] «It was just such a beautiful piece of writing, and there’s no way that you could ever say no to such a thing», he recalled.[10] The filmmakers reportedly had auditioned Barney’s creative director Simon Doonan and E!’s Robert Verdi, both openly gay men highly visible as media fashion commentators, for the part; the BBC’s Graham Norton also auditioned[36] from among 150 actors considered for the part.[10] Verdi would later say there was no intention to actually hire him and the producers had just used him and Doonan to give whoever they ultimately did cast some filmed research to use in playing a gay character (he would end up with a walk-on part as a fashion journalist in Paris). Tucci says he was unaware of this: «All I know is that someone called me and I realized this was a great part.» He based the character on various people he was acquainted with, insisting on the glasses he ultimately wore.[37]
Daniel Sunjata had originally read for Tucci’s part, rather unenthusiastically since he had just finished playing a similar character, but then read the Holt part and asked if he could audition for it. Simon Baker auditioned by sending a video of himself, wearing the same self-designed green jacket he has on when he and Andy meet for the first time.
Wintour reportedly warned major fashion designers who had been invited to make cameo appearances as themselves in the film that they would be banished from the magazine’s pages if they did so;[39] Frankel said in 2021 the most any were willing to do was help the production with background information, like allowing visits to their showrooms or giving notes on the authenticity of the script.[10] Vogue and other major women’s and fashion magazines have avoided reviewing or even mentioning the book in their pages. Wintour’s spokespeople deny the claim,[39] but costume designer Patricia Field says many designers told her they did not want to risk Wintour’s wrath.[5]
Only Valentino Garavani, who designed the black evening gown Miranda wears during the museum benefit scene, chose to make an appearance.[39] Coincidentally, he was in New York City during production and Finerman dared Field, an acquaintance, to ask him personally. Much to her surprise, he accepted.[40] Other cameos of note include Heidi Klum as herself and Weisberger as the twins’ nanny. Streep’s daughter’s film debut as a barista at Starbucks was cut. Gisele Bündchen agreed to appear in the film only if she did not play a model.
Filming[edit]
Principal photography took place over 57 days in New York and Paris between October and December 2005. The film’s budget was initially $35 million and was to only include filming in New York.[2] The limited budget caused problems with some locations—the crew could not get permission to shoot at the Museum of Modern Art or Bryant Park,[9] which they also attribute to fear of Wintour. The co-op boards at many apartment buildings also refused to let the production use them for Miranda’s, which Frankel also believes was because of Wintour’s influence.[10]
Ballhaus, at Finerman and Frankel’s suggestion, composed as many shots as possible, whether interiors or exteriors, to at least partially take in busy New York street scenes in the background, to convey the excitement of working in a glamorous industry in New York. He also used a handheld camera during some of the busier meeting scenes in Miranda’s office, to better convey the flow of action, and slow motion for Andrea’s entrance into the office following her makeover. A few process shots were necessary, mainly to put exterior views behind windows on sets and in the Mercedes where Miranda and Andy are having their climactic conversation.
Fox originally refused permission to let Frankel shoot some scenes from the third act in Paris, where it is set, due to the low budget. After six «nightmarish»[2] weeks of shooting, he had an editor cut a «sizzle reel» of highlights. That convinced the studio to increase the budget to allow for limited shooting overseas.[2] Streep did not go as Fox believed it would be too expensive; green screen shots and her body double were used instead.[9][2]
Acting[edit]
Several weeks after all the major parts had been cast, the actors gathered in New York for a table read. Hathaway was nervous and goofy, she recalls, since she still had not developed her idea of the part; she described her performance at that point as «[nothing] particularly impressive». Blunt, by contrast, found Streep’s laugh relaxed her enough to keep her focused on playing a nervous, distracted Emily. The highlight of the session was Streep’s first line as Miranda. Instead of the «strident, bossy, barking voice» everyone expected, Hathaway says, Streep silenced the room by speaking in a near whisper. «It was so unexpected and brilliant.» At the reading Streep also changed Miranda’s last line to «everybody wants to be us» from the original «me».[9]
Streep made a conscious decision not to play the part as a direct impression of Wintour,[43] right down to not using an accent and making the character American rather than English («I felt it was too restricting»).[31] «I think she wanted people not to confuse the character of Miranda Priestly with Anna Wintour at all,» said Frankel. «And that’s why early on in the process she decided on a very different look for her and a different approach to the character.»[8] The «that’s all,»[44] «please bore someone else …»[45] catchphrases; her coat-tossing on Andrea’s desk[46] and discarded steak lunch[47] are retained from the novel. Streep prepared by reading a book by Wintour protégé Liz Tilberis and the memoirs of Vogue editor Diana Vreeland. She lost so much weight during shooting that the clothes had to be taken in.[43]
During the movie’s press tour she also said her performance as Miranda was inspired by different men she knew, but did not say which ones. In 2016 she disclosed to Variety that she took Miranda’s soft speaking style from Clint Eastwood: «He never, ever, ever raises his voice and everyone has to lean in to listen, and he is automatically the most powerful person in the room.» However, she said, Eastwood does not make jokes, so instead she modeled that aspect of the character on theatrical and film director Mike Nichols, whose delivery of a cutting remark, she said, made everyone laugh, including the target. «The walk, I’m afraid, is mine,» Streep added.[9]
For Miranda’s actual look, Streep looked to two women. The bouffant hairstyle was inspired by model and actress Carmen Dell’Orefice,[b] which Streep said she wanted to blend with «the unassailable elegance and authority of [French politician] Christine Lagarde».[9][15] She wanted Miranda’s hair to be white, which the producers feared would make her look too old, but the studio trusted her and she worked with makeup artist and stylist J. Roy Helland, a longtime associate, to create the look.[10]
The costumes Field designed to go with that look resulted in numerous blown takes during the montage where Miranda repeatedly throws her overcoat on Andrea’s desk when she arrives in the morning.[9] When McKenna saw Streep as Miranda for the first time on set, she recalls being so terrified she threw her arm in front of Frankel «like we were in a car wreck».[15]
Hathaway prepared for the part by volunteering for a week as an assistant at an auction house where she was «put through the wringer» according to Weisberger, who adds that Hathaway supplemented that by asking her many questions about working for Wintour.[28] Frankel recalls that she was nervous through most of the shooting, particularly when working late, since Raffaello Follieri, her boyfriend at that time, preferred strongly that she not do so;[9] she was also having health issues due to a cyst.[2] The director said she was «terrified» before starting her first scene with Streep, who had begun her working relationship with Hathaway by saying first «I think you’re perfect for the role and I’m so happy we’re going to be working on this together» then warning her that was the last nice thing she would say.[48] Streep applied this philosophy to everyone else on set as well, keeping her distance from the cast and crew members unless it was necessary to discuss something with them.[35]
The scene where Andy delivers the Book, the mockup of the magazine in progress, to Miranda’s apartment, was, according to the Dengels, who played Miranda’s twin daughters, totally improvised. «That was just something we did with Anne and it made the cut,» Colleen Dengel told BuzzFeed in 2017. Nevertheless, it took three more days of filming to get the shot of the girls up in the stairwell the way Frankel wanted it, a look she believes was inspired by a similar scene with twin girls in The Shining.[35]
Improvisations[edit]
Several of the actors contributed dialogue and scenes to the film. Streep suggested the editorial meeting scene, which does not advance the plot but shows Miranda at work without Andy present. It was also her idea that Miranda not wear makeup in the scene where she opens up to Andy and worries about the effect on her daughters of her divorce becoming public knowledge.[8]
Hathaway suggested taking the kiss between Andy and Nate out of the scene where he makes her a grilled cheese sandwich. «I just don’t think it’s right…just doesn’t feel like we’re at that point in our relationship», Grenier recalls her saying. «There’s too much history.»[10]
Blunt, for her part, contributed the line where she tells Andy «I’m hearing this», while opening and closing her hand, «and I want to hear this» keeping the other one closed. In 2015 she told Howard Stern that she had overheard a mother saying that to a child in a supermarket during production.[50] Bündchen’s «She looks good» upon seeing Andy following her makeover is likewise her improvised addition to the script; she thought it balanced Emily’s meanness to Andy.[10]
Costuming[edit]
Frankel, who had worked with Patricia Field on his feature-film debut Miami Rhapsody as well as Sex and the City, knew that what the cast wore would be of utmost importance in a movie set in the fashion industry. «My approach was to hire her and then leave the room,» he joked later.[51] While only Valentino Garavani appeared onscreen, many other designers were helpful to Field.[52] Frankel recalls that Prada’s decision to assist Field «helped her break the ice».[10]
The $100,000 budget for the film’s costumes was supplemented by help from Field’s friends throughout the industry. Ultimately, she believes, at least $1 million worth of clothing was used in the film, making it one of the most expensively costumed movies in cinema history.[5] The single priciest item was a $100,000 Fred Leighton necklace on Streep,[52] who likened Field’s success in putting the movie’s wardrobe together to the special effects in the Mission: Impossible films.[10]
When Hathaway enters the office after Nigel gives her access to Runway‘s closet, she is dressed entirely in Chanel. Field explained in 2016 that «I felt Annie Hathaway was a Chanel girl organically, as opposed to let’s say a Versace [or Roberto Cavalli] girl.» When she called the company to ask for assistance, they were delighted because «they wanted to see Chanel on a young girl to give it another point of view,» showing it as a brand for «not just middle-aged women in suits, but youthful and funky.»[53] Calvin Klein rounds out Andrea’s wardrobe. Most of the garments seen onscreen were borrowed; Streep recalls not being able to eat spaghetti at lunch while wearing one dress because if it got soiled the production could not return it.[10]
Dolce & Gabbana and Calvin Klein helped Field as well, with some contributions from Lebanese designer Georges Chakra.[55] Although Field avoids making Streep look like Wintour, she dresses her in generous helpings of Prada (By Field’s own estimate, 40 percent of the shoes on Streep’s feet are Prada). «I know her character was originally based on Anna Wintour,» Field said, «but I didn’t want to copy someone’s style.»[56] But, like Wintour and her Vogue predecessor Diana Vreeland, the two realized that Miranda needed a signature look, which was provided primarily by the white wig and forelock she wore as well as the clothes the two spent much time poring over look-books for.[8] «[I]n choosing her wardrobe my idea was that she’s a chief fashion editor, she has her own style,» Fields told Women’s Wear Daily in 2016. «We’re creating an original character.»[57]
Blunt recalls that she and Streep generally wore the shoes that came with their outfits only when they were shown in full. Whenever only their upper bodies needed to be visible, they put on more comfortable footwear like Uggs. Hathaway, by contrast, always wore whatever shoes she had been given. «[She was running] over cobblestone streets like a sure-footed little mountain goat», Blunt recalls.[10]
Field said she avoided prevailing fashion trends for Miranda during production in favor of a more timeless look based on Donna Karan archives and pieces by Michaele Vollbracht for Bill Blass.[5] She did not want people to easily recognize what Miranda was wearing.
Emily Blunt in the look Field created for her character
She contrasted Andy and Emily by giving Andy a sense of style, without much risk-taking, that would suggest clothing a fashion magazine would have on hand for shoots, clothing a recent college graduate with little sense of style would feel comfortable wearing in a fashion-conscious workplace.[5] Blunt, on the other hand was «so on the edge she’s almost falling off».[58] For her, Field chose pieces by Vivienne Westwood and Rick Owens to suggest a taste for funkier, more «underground» clothing. After the film’s release, some of the looks Field chose became popular, to the filmmakers’ amusement.
Tucci praised Field’s skill in putting ensembles together that were not only stylish but helped him develop his character:
She just sort of sits there with her cigarette and her hair, and she would pull stuff—these very disparate elements—and put them together into this ensemble, and you’d go, «Come on, Pat, you can’t wear that with that.» She’d say, «Eh, just try it on.» So you’d put it on, and not only did it work, but it works on so many different levels—and it allows you to figure out who the guy is. Those outfits achieve exactly what I was trying to achieve. There’s flamboyance, there’s real risk-taking, but when I walk into the room, it’s not flashy. It’s actually very subtle. You look at it and you go, «That shirt, that tie, that jacket, that vest? What?» But it works.[37]
He found one Dries van Noten tie he wore during the film to his liking and kept it.[37]
Production design[edit]
After touring some offices of real fashion magazines, Jess Gonchor gave the Runway offices a clean, white look meant to suggest a makeup compact («the chaste beiges and whites of impervious authority,» Denby called it[59]). Miranda’s office bears some strong similarities to the real office of Anna Wintour, down to an octagonal mirror on the wall, photographs and a floral arrangement on the desk.[60] Gonchor later told Women’s Wear Daily that he had based the set on a photo of Wintour’s office he found online; the similarity led Wintour to have her office redecorated after the movie’s release.[61] In 2021, Frankel said Gonchor had actually managed to sneak into Vogue‘s offices to get a look at Wintour’s. «They got it really, really close», Weisberger said.[10]
Gonchor even chose separate computer wallpaper to highlight different aspects of Blunt’s and Hathaway’s character: Paris’s Arc de Triomphe on Blunt’s suggests her aspirations to accompany Miranda to the shows there, while the floral image on Andy’s suggests the natural, unassuming qualities she displays at the outset of her tenure with the magazine. For the photo of Andy with her parents, Hathaway posed with her own mother and David Marshall Grant. The Dengel twins recalled being asked every day for three years straight if the Harry Potter advance copies were real; to their great disappointment they were not and in fact were «all gibberish». They eventually auctioned them for $586 on eBay, along with various clothing used in the film, to benefit Dress for Success, a charity which provides business clothing to help women transition into the workforce.[35][62]
Locations[edit]
New York[edit]
- The 1221 Avenue of the Americas on Sixth Avenue was used for the exteriors and lobby of Elias-Clarke’s headquarters.
- The Runway offices are partially corridors in the neighboring Fox building and partially sets.
- The Elias-Clarke cafeteria is the one at the Reuters office in Manhattan.
- Nate and Andy’s apartment is on the Lower East Side.[63]
- Andy gets on the subway at the Spring Street station and gets off at 51st Street, both on the Lexington Avenue Line.[63]
- Bubby’s,[63] the restaurant Nate works at (and where Andrea, Doug and Lily eat dinner on occasion) is in TriBeCa.
- The Smith & Wollensky steakhouse and its kitchen were used.
- The Calvin Klein showroom is used in the deleted scenes.
- Holt’s studio is a loft used by an actual designer.
- The American Museum of Natural History was used for the exterior of the museum benefit, while the lobby of one of the Foley Square courthouses is used for the interior.
- The Priestly townhouse is on the Upper East Side and belongs to a friend of Finerman’s. It had to be dressed on short notice after another one could not be used.
- Christian gives Andy the unpublished Harry Potter manuscript at the St. Regis Hotel’s King Cole Bar.[63]
- The Amtrak train the twins are taking is going up the Hudson River at Haverstraw Bay.
- Streep exits her limousine, supposedly in Paris, at 77th Street and Central Park West.
- The New York Mirror newsroom where Andy gets hired at the end of the film is that of the now-defunct New York Sun.
- The café where Andy apologizes to Nate was the Mayrose at 920 Broadway (near the Flatiron Building), which has since closed. On its site is a Flying Tiger Copenhagen store.
Paris[edit]
The crew were in Paris for only two days, and used only exteriors. Streep did not make the trip.[8]
- The fountain Andy throws her phone into is on the Place de la Concorde.
- All the hotel interiors are actually the St. Regis in Manhattan. The fashion shows were filmed on a soundstage in Queens. Likewise, Christian’s hotel is the W Hotel at Times Square.
Post-production[edit]
Editing[edit]
Mark Livolsi realized, as McKenna had on the other end, that the film worked best when it focused on the Andrea-Miranda storyline. Accordingly, he cut a number of primarily transitional scenes, such as Andrea’s job interview and the Runway staff’s trip to Holt’s studio. He also took out a scene early on where Miranda complimented Andrea. Upon reviewing them for the DVD, Frankel admitted he had not even seen them before, since Livolsi did not include them in any prints he sent to the director.
Frankel praised Livolsi for making the film’s four key montages—the opening credits, Miranda’s coat-tossing, Andrea’s makeover and the Paris introduction—work. The third was particularly challenging as it uses passing cars and other obstructions to cover Hathaway’s changes of outfit. Some scenes were also created in the editing room, such as the reception at the museum, where Livolsi wove B-roll footage in to keep the action flowing.
In 2021 McKenna estimated that she had signed off on $10 million in cut scenes. An opening scene in which Andy goes to the wrong building on her way to her interview was taken out to get the story started more quickly. The scene where she misses Nate’s birthday was originally more elaborate, with the couple supposed to meet up with their friends at a concert, but that proved to be too expensive, and so the scene with the cupcake was written instead. «We had many versions of that.» And an alternate ending for the couple’s arc, where they have the same conversation about the future of their relationship while running through the park, was filmed but replaced with the less optimistic scene in the restaurant.[10]
McKenna had also been willing to cut Miranda’s «Florals… for spring. Groundbreaking» line, but Frankel had it kept in.[10]
Music[edit]
Composer Theodore Shapiro relied heavily on guitar and percussion, with the backing of a full orchestra, to capture a contemporary urban sound. He ultimately wrote 35 minutes of music for the film, which were performed and recorded by the Hollywood Studio Symphony, conducted by Pete Anthony.[64] His work was balanced with songs by U2 («City of Blinding Lights», Miranda and Andy in Paris), Madonna («Vogue» & «Jump», Andrea’s fashion montage & her first day on the job, respectively), KT Tunstall («Suddenly I See», female montage during opening credits), Alanis Morissette («Crazy», Central Park photo shoot), Bitter:Sweet («Our Remains,» Andy picks up James Holt’s sketches for Miranda; Bittersweet Faith, Lily’s art show), Azure Ray («Sleep,» following the breakdown of her relationship with Nate), Jamiroquai («Seven Days in Sunny June,» Andy and Christian meet at James Holt’s party) among others. Frankel had wanted to use «City of Blinding Lights» in the film after he had used it as a soundtrack to a video montage of Paris scenes he had put together after scouting locations there. Likewise, Field had advocated just as strongly for «Vogue».
The soundtrack album was released on July 11, 2006, by Warner Music. It includes most of the songs mentioned above, as well as a suite of Shapiro’s themes. Among the tracks not included is «Suddenly I See,» an omission which disappointed many fans.[65]
Pre-release and marketing[edit]
Originally intended just to convince Fox to fund some shooting in Paris, Frankel’s sizzle reel led the studio to put a stronger marketing push behind the movie. It moved the release date from February to summer, scheduling it as a lighter alternative audiences could consider to Superman Returns at the end of June 2006, and began to position it as an event movie in and of itself.[9]
Two decisions by the studio’s marketing department that were meant to be preliminary wound up being integral to promoting the film. The first was the creation of the red stiletto heel ending in a pitchfork as the film’s teaser poster. It was so successful and effective, becoming almost «iconic» (in Finerman’s words), that it was used for the actual release poster as well. It became a brand, and was eventually used on every medium related to the film—the tie-in reprinting of the novel and the soundtrack and DVD covers as well.[8]
The studio also put together a trailer of scenes and images strictly from the first three minutes of the film, in which Andy meets Miranda for the first time, to be used at previews and film festivals until they could create a more standard trailer drawing from the whole film. But, again, this proved so effective with early audiences it was retained as the main trailer, since it created anticipation for the rest of the film without giving anything away.[8]
Gabler credits the studio’s marketing team for being «really creative». Fox saw the film as «counter-programming» on the weekend Superman Returns was released. While they knew that the material and Hathaway would help draw a younger female audience that would not be as interested in seeing that film, «[w]e didn’t want it to just seem like a chick flick coming out.»[7]
Reception[edit]
Critical response[edit]
On Rotten Tomatoes the film holds an approval rating of 75% based on 195 reviews, along with an average rating of 6.7/10. The website’s critics consensus reads, «A rare film that surpasses the quality of its source novel, this Devil is a witty expose of New York’s fashion scene, with Meryl Streep in top form and Anne Hathaway more than holding her own.»[66] On Metacritic, the film has a weighted average score of 62 out of 100, based on 40 critics, indicating «generally favorable reviews».[67] Audiences surveyed by CinemaScore gave the film an average grade «B» on an A+ to F scale.[68]
Initial reviews of the film focused primarily on Streep’s performance, praising her for making an extremely unsympathetic character far more complex than she had been in the novel. «With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streep’s Miranda inspires both terror and a measure of awe,» wrote A. O. Scott in The New York Times. «No longer simply the incarnation of evil, she is now a vision of aristocratic, purposeful and surprisingly human grace.»[69]
Kyle Smith agreed at the New York Post: «The snaky Streep wisely chooses not to imitate Vogue editrix Anna Wintour, the inspiration for the book, but creates her own surprisingly believable character.»[70]
David Edelstein, in New York magazine, criticized the film as «thin», but praised Streep for her «fabulous minimalist performance».[71] J. Hoberman, Edelstein’s onetime colleague at The Village Voice, called the movie an improvement on the book and said Streep was «the scariest, most nuanced, funniest movie villainess since Tilda Swinton’s nazified White Witch [in 2005’s The Chronicles of Narnia: The Lion, the Witch and the Wardrobe]».[72]
Blunt, too, earned some favorable notice. «[She] has many of the movie’s best lines and steals nearly every scene she’s in,» wrote Clifford Pugh in the Houston Chronicle.[73] Other reviewers and fans concurred.[74][75] While all critics were in agreement about Streep and Blunt, they pointed to other weaknesses, particularly in the story. Reviewers familiar with Weisberger’s novel assented to her judgment that McKenna’s script greatly improved upon it.[59][69] An exception was Angela Baldassare at The Microsoft Network Canada, who felt the film needed more of the nastiness others had told her was abundant in the novel.[76]
David Denby summed up this response in his New Yorker review: «The Devil Wears Prada tells a familiar story, and it never goes much below the surface of what it has to tell. Still, what a surface!»[59] Reactions to Hathaway’s performance were not as unanimous as for many of her costars. Denby said «she suggests, with no more than a panicky sidelong glance, what Weisberger takes pages to describe.»[59] Whereas, Baldassare said she «barely carrie[d] the load».[76]
Depiction of fashion industry[edit]
Some media outlets allowed their present or former fashion reporters to weigh in on how realistic the movie was. Their responses varied widely. Booth Moore at Los Angeles Times chided Field for creating a «fine fashion fantasy with little to do with reality,» a world that reflects what outsiders think fashion is like rather than what the industry actually is. Unlike the movie, in her experience fashionistas were less likely to wear makeup and more likely to value edgier dressing styles (that would not include toe rings).[77]
«If they want a documentary, they can watch the History Channel», retorted Field.[78] Fashion writer, Hadley Freeman of The Guardian, likewise complained the film was awash in the sexism and clichés that, to her, beset movies about fashion in general.[79]
But Charla Krupp, the executive editor of SHOP, Inc., wrote, «It’s the first film I’ve seen that got it right … [It] has the nuances of the politics and the tension better than any film—and the backstabbing and sucking-up.»[52] Joanna Coles, the editor of the U.S. edition of Marie Claire, agreed:
The film brilliantly skewers a particular kind of young woman who lives, breathes, thinks fashion above all else … those young women who are prepared to die rather than go without the latest Muse bag from Yves Saint Laurent that costs three times their monthly salary. It’s also accurate in its understanding of the relationship between the editor-in-chief and the assistant.[52]
Ginia Bellefante, former fashion reporter for The New York Times, called it «easily the truest portrayal of fashion culture since Unzipped (1995)» and giving it credit for depicting the way fashion had changed in the early 21st century.[80] Her colleague Ruth La Ferla found a different opinion from industry insiders after a special preview screening. Most found the fashion in the movie too safe and the beauty too overstated, more in tune with the 1980s than the 2000s. «My job is to present an entertainment, a world people can visit and take a little trip,» responded Field.[78]
Commercial[edit]
On its June 30 opening weekend, right before the Independence Day holiday, the film was on 2,847 screens. Through that Sunday, July 2, it grossed $27 million, second only to the big-budget Superman Returns,[81] breaking The Patriot‘s six-year-old record for the largest take by a movie released that holiday weekend that did not win the weekend;[82] a record that stood until Ice Age: Dawn of the Dinosaurs broke it in 2009.[83][c]
During its first week it added $13 million. This success led Fox to add 35 more screens the next weekend, the widest domestic distribution the film enjoyed. Although it was never any week’s top-grossing film, it remained in the top 10 through July. Its theatrical run continued through December 10, shortly before the DVD release.[85]
«The core marketing was definitely to women,» Gabler recalls, «but the men didn’t resist going to the movie.» She felt that male viewers responded favorably to the movie because they sought a glimpse inside fashion, and because Miranda «was enjoyable to watch». The release date helped generate word of mouth when people who had seen it discussed it at holiday gatherings. «They were talking about it, like a summer reading book,» said Gabler.[7]
It had a very successful run in theaters, making nearly $125 million in the United States and Canada and over $325 million worldwide,[1] a career-high for all three top-billed actresses at that time. Streep would surpass it two years later with Mamma Mia[86] while Hathaway exceeded it with 2010’s Alice in Wonderland.[87][d] Blunt would not be in a higher-grossing film until the 2014 movie adaptation of the Broadway musical Into the Woods (also starring Streep).[89]
Anna Wintour, on whom Miranda is supposedly based, was at first skeptical of the film but later came to appreciate it.
It was also Tucci’s highest-grossing film until Captain America: The First Avenger in 2011.[90]
Anna Wintour[edit]
Anna Wintour attended the film’s New York premiere, wearing Prada. Her friend Barbara Amiel reported that she said shortly afterward that the movie would go straight to DVD.[91] McKenna said later that Wintour and her daughter Bee sat in front of her and Frankel. The latter, McKenna recalls, kept telling her mother that the film got many things right.[10]
In an interview with Barbara Walters that aired the day the DVD was released, she called the film «really entertaining» and said she appreciated the «decisive» nature of Streep’s portrayal. «Anything that makes fashion entertaining and glamorous and interesting is wonderful for our industry. So I was 100 percent behind it.»[6] Streep said Wintour was «probably more upset by the book than the film».[92] Wintour’s popularity skyrocketed after her portrayal in The Devil Wears Prada. Streep said she did not base her character in The Devil Wears Prada on Anna Wintour, instead saying she was inspired by men she had known previously: «Unfortunately you don’t have enough women in power, or at least I don’t know them, to copy.»[93]
Frankel believes Wintour may still harbor some hard feelings about the movie. He was again seated behind her some years later at a tennis tournament in Miami, and afterwards introduced himself. When he told her that he had directed The Devil Wears Prada, he recalls, she took her hand out of the handshake.[10]
International[edit]
The movie title in Spanish America (El diablo viste a la moda), English and Spanish (El diablo viste de Prada) in the same typeface as that used on the poster
Weisberger’s novel had been translated into 37 different languages, giving the movie a strong potential foreign audience. The international box office would ultimately deliver 60% of the film’s gross. «We did our European premiere at the Venice Film Festival», Gabler says, where the city’s gondoliers wore red T-shirts with the film’s logo. «So many people around the world were captivated by the glossy fashion world. It was sexy and international.»[7]
The Devil Wears Prada topped the charts on its first major European release weekend on October 9, after a strong September Oceania and Latin America opening. It would be the highest-grossing film that weekend in the United Kingdom, Spain and Russia, taking in $41.5 million overall.[94] Continued strong weekends as it opened across the rest of Europe helped it remain atop the overseas charts for the rest of the month.[95][96][97] By the end of the year only its Chinese opening remained; it was released there at the end of February 2007 and took in $2.4 million.[98]
The greatest portion of the $201.8 million total international box office came from the United Kingdom, with $26.5 million. Germany was next with $23.1 million, followed by Italy at $19.3 million and France at $17.9 million. Outside Europe, Japanese box office was the highest at $14.6 million, followed by Australia at $12.6 million.[98]
Most reviews from the international press echoed the domestic response, heaping praise on Streep and the other actors, but calling the whole film «predictable».[99] The Guardian‘s Peter Bradshaw, who found the film «moderately entertaining,» took Blunt to task, calling her a «real disappointment … strained and awkward».[100] In The Independent, Anthony Quinn said Streep «may just have given us a classic here» and concluded that the film as a whole was «as snappy and juicy as fresh bubblegum».[101]
In most markets the title remained unchanged; either the English was used or a translation into the local language. The only exceptions were Chile, Colombia, Ecuador, Mexico and Venezuela, where it was El diablo que viste Prada and El diablo se viste a la moda. In Poland, the title was Diabeł ubiera się u Prady which roughly means «The Devil dresses (itself) at Prada» rather than «The Devil Wears Prada». In Italian, the title was ″Il diavolo veste Prada» which roughly means «The devil wears Prada». In Turkey, the title was «Şeytan Marka Giyer,» roughly translated as «The Devil Wears Brand-Names». In Romania, the title was «Diavolul se îmbracă de la Prada,» which roughly means «The Devil Dresses itself from Prada», the same construction being found in the French title, «Le Diable s’habille en Prada». The Japanese version is titled «プラダを着た悪魔», which translates as «The devil wearing Prada».
Awards and nominations[edit]
Three months after the film’s North American release (October 2006), Frankel and Weisberger jointly accepted the first Quill Variety Blockbuster Book to Film Award. A committee of staffers at the magazine made the nominations and chose the award winner. Editor Peter Bart praised both works.
The Devil Wears Prada is an energetically directed, perfect-fit of a film that has surprised some in the industry with its box-office legs. It has delighted the country, much as did Lauren Weisberger’s book, which is still going strong on several national bestseller lists.[102]
The film was honored by the National Board of Review as one of the year’s ten best.[103] The American Film Institute gave the film similar recognition.[104]
The film received ample attention from the Hollywood Foreign Press Association when its Golden Globe Award nominations were announced in December. The film itself was in the running for Best Picture (Comedy/Musical) and Supporting Actress (for Blunt). Streep later won the Globe for Best Actress (Musical/Comedy).[105]
In January 2007, Streep’s fellow members of the Screen Actors Guild nominated her for Best Actress as well.[106] Four days later, at the National Society of Film Critics awards, Streep won Best Supporting Actress for her work both in Devil and A Prairie Home Companion.[107] McKenna earned a nomination from the Writers Guild of America Award for Best Adapted Screenplay.[108]
When the British Academy of Film and Television Arts announced its 2006 nominations, Blunt, Field, McKenna and Streep were all among the nominees. Makeup artist and hairstylists Nicki Ledermann and Angel de Angelis also were nominated.[109]
At the end of January, Streep received her 14th Academy Award nomination for Best Actress, lengthening her record from 13 for most nominations by any actor, male or female. Field received a Best Costume Design nomination as well.[110] Neither won, but Blunt and Hathaway presented the last mentioned award, amusing the audience by slipping into their characters for a few lines, nervously asking which of them had gotten Streep her cappuccino. Streep played along with a stern expression before smiling.[111]
| Award | Date of ceremony | Category | Recipient(s) | Result |
|---|---|---|---|---|
| Academy Awards | February 25, 2007 | Best Actress | Meryl Streep | Nominated |
| Best Costume Design | Patricia Field | Nominated | ||
| ACE Eddie Awards | February 18, 2007 | Best Edited Feature Film – Comedy or Musical | Mark Livolsi | Nominated |
| AFI Awards | January 12, 2007 | Movie of the Year | The Devil Wears Prada | Won |
| African-American Film Critics Association Awards | December 22, 2006 | Top 10 Films | Won | |
| Alliance of Women Film Journalists’ EDA Awards | December 2006 | Best Comedy by or About Women | David Frankel | Nominated |
| Best Actress in a Comedic Performance | Meryl Streep | Won | ||
| Best Screenplay Written by a Woman | Aline Brosh McKenna | Nominated | ||
| Awards Circuit Community Awards | December 2006 | Best Actress in a Leading Role | Meryl Streep | Nominated |
| Best Actress in a Supporting Role | Emily Blunt | Nominated | ||
| BMI Film & TV Awards | May 16, 2007 | BMI Film Music | Theodore Shapiro | Won |
| Boston Society of Film Critics Awards | December 11, 2006 | Boston Society of Film Critics Award for Best Supporting Actress | Meryl Streep | Nominated |
| British Academy Film Awards | February 11, 2007 | Best Actress in a Leading Role | Nominated | |
| Best Actress in a Supporting Role | Emily Blunt | Nominated | ||
| Best Adapted Screenplay | Aline Brosh McKenna | Nominated | ||
| Best Costume Design | Patricia Field | Nominated | ||
| Best Makeup and Hair | Nicki Ledermann Angel De Angelis |
Nominated | ||
| Central Ohio Film Critics Association Awards | January 11, 2007 | Best Actress | Meryl Streep | Nominated |
| Chicago Film Critics Association Awards | December 28, 2006 | Best Actress | Nominated | |
| Costume Designers Guild Awards | February 2007 | Excellence in Costume Design for a Contemporary Film | Patricia Field | Nominated |
| Critics’ Choice Awards | January 20, 2007 | Best Comedy | The Devil Wears Prada | Nominated |
| Best Actress | Meryl Streep | Nominated | ||
| Dallas–Fort Worth Film Critics Association Awards | December 19, 2006 | Dallas–Fort Worth Film Critics Association Award for Best Actress | Nominated | |
| Dallas–Fort Worth Film Critics Association Award for Best Supporting Actress | Emily Blunt | Nominated | ||
| Dublin Film Critics’ Circle Awards | December 2006 | Best Supporting Actress | Meryl Streep | Nominated |
| Golden Globe Awards | January 15, 2007 | Best Motion Picture – Musical or Comedy | The Devil Wears Prada | Nominated |
| Best Actress – Motion Picture Musical or Comedy | Meryl Streep | Won | ||
| Best Supporting Actress – Motion Picture | Emily Blunt | Nominated | ||
| Golden Schmoes Awards | December 2006 | Best Supporting Actress of the Year | Nominated | |
| International Online Film Critics’ Poll Awards | January 9, 2011 | Best Actress of the Decade | Meryl Streep | Nominated |
| Italian Online Movie Awards | May 2007 | Best Supporting Actress | Won | |
| Jupiter Awards | March 2007 | Best International Actress | Nominated | |
| Anne Hathaway | Nominated | |||
| London Film Critics’ Circle Awards | February 8, 2007 | Actress of the Year | Meryl Streep | Won |
| British Supporting Actress of the Year | Emily Blunt | Won | ||
| MTV Movie Awards | June 3, 2007 | Best Breakthrough Performance | Nominated | |
| Best Villain | Meryl Streep | Nominated | ||
| Best Comedic Performance | Emily Blunt | Nominated | ||
| MTV Russia Movie Awards | April 19, 2007 | Best International Movie | The Devil Wears Prada | Nominated |
| National Board of Review Awards | January 9, 2007 | Top Ten Films | Won | |
| National Society of Film Critics Awards | January 6, 2007 | Best Supporting Actress | Meryl Streep | Won |
| New York Film Critics Circle Awards | December 11, 2006 | Best Actress | Nominated | |
| North Texas Film Critics Association Awards | January 21, 2007 | Best Actress | Won | |
| Online Film & Television Association Awards | February 10, 2007 | Nominated | ||
| Best Costume Design | Patricia Field | Nominated | ||
| Online Film Critics Society Awards | January 8, 2007 | Best Actress | Meryl Streep | Nominated |
| People’s Choice Awards | January 9, 2007 | Favorite Song from a Movie | «Crazy» – Alanis Morissette | Nominated |
| Rembrandt Awards | March 2007 | Best International Actress | Meryl Streep | Won |
| Satellite Awards | December 18, 2006 | Best Motion Picture – Musical or Comedy | The Devil Wears Prada | Nominated |
| Best Actress – Motion Picture Musical or Comedy | Meryl Streep | Won | ||
| Satellite Award for Best Costume Design | Patricia Field | Won | ||
| Screen Actors Guild Awards | January 28, 2007 | Outstanding Performance by a Female Actor in a Leading Role | Meryl Streep | Nominated |
| St. Louis Gateway Film Critics Association Awards | January 7, 2007 | Best Supporting Actress | Nominated | |
| Teen Choice Awards | August 20, 2006 | Choice Summer Movie: Comedy | The Devil Wears Prada | Nominated |
| Choice Movie: Chemistry | Meryl Streep Anne Hathaway |
Nominated | ||
| Choice Movie: Breakout Star – Female | Emily Blunt | Nominated | ||
| Choice Movie: Villain | Meryl Streep | Nominated | ||
| USC Scripter Awards | February 18, 2007 | Best Screenplay | Aline Brosh McKenna Lauren Weisberger |
Nominated |
| Vancouver Film Critics Circle Awards | January 9, 2007 | Best Supporting Actress | Meryl Streep | Nominated |
| Women Film Critics Circle Awards | December 14, 2006 | Best Comedic Performance | Won | |
| Best Woman Storyteller | Aline Brosh McKenna | Won | ||
| Writers Guild of America Awards | February 11, 2007 | Best Adapted Screenplay | Nominated |
In other media[edit]
The success of the film led to a proposed, but unrealized, American dramedy series that was in contention to air for the 2007–08 television season on Fox. It was to be produced by Fox Television Studios, with the premise adjusted for the confines of a traditional half-hour or one-hour dramedy with a single camera set-up. However, it never reached the point of even producing a pilot episode.[112]
With the video release came renewed interest in Weisberger’s novel. It ranked eighth on USA Today‘s list of 2006 best sellers[113] and was the second most borrowed book in American libraries.[114] The audiobook version was released in October 2006 and quickly made it to third on that medium’s fiction best seller list.[115]
Home media [edit]
The DVD was released on December 12, 2006, and has, in addition to the film, the following extras:[116]
- Audio commentary from Frankel, editor Mark Livolsi, Field, screenwriter Aline Brosh McKenna, producer Wendy Finerman and cinematographer Florian Ballhaus.
- A five-minute blooper reel featuring, among other shots, unintentional pratfalls by Hathaway due to the high stiletto heels she had to wear. It also includes gag shots such as a chubby crewmember in loose-fitting clothing walking along the runway at the fashion show, and Streep announcing «I have some nude photographs to show you» at the Paris brunch scene.[117] Unlike most blooper reels, it is not a collection of sequential takes but rather a fast-paced montage set to music from the film with many backstage shots and a split screenshot allowing the viewer to compare the actual shot with the blooper. The many shots of actors touching their noses are, Rich Sommer says, a game played to assign blame for ruined takes.[118]
- Five featurettes
- «Trip to the Big Screen», a 12-minute look at the film’s pre-production, discussing the changes made from the novel, how Frankel was chosen to direct and other issues.
- «NYC and Fashion», a look at the real New York fashion scene and how it is portrayed in the film.
- «Fashion Visionary Patricia Field», a profile of the film’s costume designer.
- «Getting Valentino», covering how the designer was persuaded to appear as himself in the film.
- «Boss from Hell», a short segment on difficult, nightmarish superiors like Priestly.
- Fifteen deleted scenes, with commentary from Frankel and Livolsi available (see below).
- The theatrical trailer, and promotional spots for the soundtrack album and other releases.
Closed captions in French and Spanish are also available. The DVD is available in both full screen and widescreen versions. Pictures of the cast and the tagline «Hell on Heels» were added to the red-heel image for the cover. It was released in the UK on February 5, 2007.
A Blu-ray Disc of the film was released simultaneously with the DVD. The Blu-ray maintains the same features as the DVD; however, the featurettes were dropped and replaced with a subtitle pop-up trivia track that can be watched by itself or along with the audio commentary.[119]
Reception[edit]
Immediately upon its December 12 release, it became the top rental in the United States. It held that spot through the end of the year, adding another $26.5 million to the film’s grosses; it dropped out of the top 50 at the end of March, with its grosses almost doubling.[120] The following week it made its debut on the DVD sales charts in third position. By the end of 2007 it had sold nearly 5.6 million units, for a total of $94.4 million in sales.[121]
Deleted scenes[edit]
Among the deleted scenes are some that added more background information to the story, with commentary available by the editor and director. Most were deleted by Livolsi in favor of keeping the plot focused on the conflict between Miranda and Andrea, often without consulting Frankel.
Frankel generally approved of his editor’s choices, but differed on one scene, showing more of Andy on her errand to the Calvin Klein showroom. He felt that scene showed Andrea’s job was about more than running personal errands for Miranda.
A different version of the scene at the gala was the subject of a 2017 discussion on Twitter when it was rediscovered by Spencer Althouse, BuzzFeed‘s community manager. In it, instead of Andy reminding Miranda of a guest’s name after the sickened Emily cannot, Miranda’s husband shows up and makes rude comments to not only his wife but Ravitz, the head of Elias-Clark. Andy earns a silent «thank you» from Miranda when she helps prevent the confrontation from escalating by diverting Ravitz with a question of her own.[122]
Althouse and many of the other participants on the thread disagreed as to whether it should have been used; those who said it was properly cut believed that it would have been out of character for Miranda at that point in the film. All agreed, as Glamour wrote, that «[t]his one, brief exchange would have completely changed the movie.»[122]
Cultural impact and legacy[edit]
In 2016, around the 10th anniversary of the film’s release, Vanity Fair did a rundown of some Independence Day weekend movie box results from the previous 15 years, noting how some better-remembered films had been bested by films that have not stood the test of time. It called Superman Returns‘ win over The Devil Wears Prada the «most ironic» of these victories. «[T]he degree to which The Devil Wears Prada has penetrated pop culture needs no explanation–as does the degree to which Superman Returns didn’t.»[123]
The cast’s opinions on why the movie has endured differ. Hathaway told Variety that she thinks many people relate to Andy’s predicament of working for someone who seems impossible to please. «Everybody has had an experience like this.» Tucci did not believe specific explanations were necessary. «It’s a fucking brilliant movie … The brilliant movies become influential, no matter what they are about.»[9]
Cast[edit]
The cast members bonded tightly on the set, and remained close afterwards. Blunt invited them to her wedding to John Krasinski in 2010. There, Tucci met her sister Felicity, whom he later married. «Ten years after The Devil Wears Prada, Stanley is in my actual family,» she told Variety. «How frightening is that?»[9]
In its anniversary story, Variety argued that it had benefited all three of its lead actresses. In addition to Streep’s record-setting Oscar nomination, the magazine observed, it had proven that she could be a box-office draw by herself, opening doors up for her to be cast as a lead in later summer movies such as Mamma Mia! (2008) and Julie & Julia (2009). For Hathaway, it was her first leading role in a film intended for an adult audience. Subsequent producers were impressed that she had held her own playing opposite Streep, which led eventually to her being cast in more serious roles like Rachel Getting Married (2008) and Les Misérables (2012), for which she won an Oscar. «I think what people saw was promising—it made people want to see more.»[9]
Hathaway believes that Blunt’s career took off because of her role. «I’ve never witnessed a star being born before,» Hathaway says. «That’s the first time I watched it happen.» Blunt agrees that it was «a night and day change» for her—the day after the film was released, she told Variety, the staff at the coffee shop she had been going to for breakfast every morning in Los Angeles suddenly recognized her. Even ten years later, people still quote her lines from the film back to her at least once a week, she says.[9]
Audience demographics[edit]
«[The film] definitely paved the way for the filmmakers and distributors of the world to know that there was a female audience that was really strong out there», Gabler recalls, one that was not segmented by age. She pointed to later movies, such as Mamma Mia!, 27 Dresses (2008) (written by McKenna) and Me Before You (2016), that appeared to her to be trying to replicate The Devil Wears Prada‘s success with that demographic. However, Gabler feels they did not do so as well. «Prada reminds me of movies that we don’t have a lot of now—it harkens back to classic movies that had so much more than just one kind of plot line … You just keep wanting to find something that can touch upon the same zeitgeist as this film.»[7]
For Streep, the most significant thing about the film was that «[t]his was the first time, on any movie I have ever made, where men came up to me and said, ‘I know what you felt like, this is kind of like my life.’ That was for me the most ground-breaking thing about Devil Wears Prada—it engaged men on a visceral level,» she told Indiewire.[7]
Popular culture and society[edit]
The film has made a lasting impact on popular culture. Although a TV series based on it was not picked up, in the years after its release The Simpsons titled an episode «The Devil Wears Nada» and parodied some scenes. The American version of The Office began an episode with Steve Carell as Michael Scott imitating Miranda after watching the film on Netflix. On episode 18 of season 14 of Keeping Up with the Kardashians, Kris Jenner dressed as Miranda, channeling her ‘Boss Lady’ persona.[124][125] In 2019, reports that Minnesota Senator Amy Klobuchar, then seeking the Democratic presidential nomination for the 2020 election, mistreated her staff and made unreasonable demands of them led some writers to invoke Miranda as a point of reference.[126][127]
In 2008, The New York Times wrote that the movie had defined the image of a personal assistant in the public mind.[128] Seven years later, Dissent‘s Francesca Mari wrote about «the assistant economy» by which many creative professionals rely on workers so titled to do menial personal and professional tasks for them; she pointed to The Devil Wears Prada as the best-known narrative of assistantship.[129] The next year, writing about a proposed change in U.S. federal overtime regulations that was seen as threatening to that practice, the Times called it the ‘Devil Wears Prada‘ economy»,[130] a term other news outlets also used.[131]
On the film’s 10th anniversary, Alyssa Rosenberg wrote in The Washington Post that Miranda anticipated female antiheroines of popular television series of the later 2000s and 2010s such as Scandal‘s Olivia Pope and Cersei Lannister in Game of Thrones. Like them, she observes, Miranda competently assumes a position of authority often held by male characters, despite her moral failings, that she must defend against attempts to use her personal life to remove her from it, to «prov[e], as a creature of sentiment, that she never belonged there in the first place.» In doing so, however successfully to herself and others, «she has zipped herself into a life as regimented and limited as a skintight pencil skirt.»[132]
Five years later, Harper’s Bazaar, took a different perspective. Mekia Rivas faulted the film’s portrayal of Miranda and Andy’s relationship as reinforcing a false belief that since a young woman may only get one career break, she should take it no matter what she has to put up with from her boss. At the time of the film’s release, «girlbosses» epitomized by Miranda had been seen as potentially revolutionizing the workplace, she noted. But the idea had since been discredited by real-life examples of women like Elizabeth Holmes and Steph Korey who ran companies where workers lived in fear of their bosses’ tempers and whims. Rivas described Miranda as «a totally toxic superior who, in the end, was more interested in upholding the status quo than in reinventing it, despite having all the power and authority to do so. She wanted Andy to believe that saying no to her would be the end of her career, even though she knew Andy had all the potential in the world to make it without her or her connections.»[133]
«Like many instant classics, Prada benefited from perfect timing», Variety‘s 2016 article observed, attempting to explain the film’s enduring appeal. «It marked the beginning of the democratization of the fashion industry—when the masses started to pay attention to the business of what they wore.» It credited the movie with helping stir interest in the American adaptation of the Colombian television series Ugly Betty, which debuted months after its release.[9]
The film also has been credited with increasing interest in R.J. Cutler’s documentary The September Issue, which followed Wintour and other Vogue editors as they prepared the issue for that month of 2007.[9] Writing in The Ringer on the tenth anniversary, Alison Herman observed that «The Devil Wears Prada transformed Wintour’s image from that of a mere public figure into that of a cultural icon.» Once known primarily as a fashion editor, she was now «every overlord you’d ever bitched about three drinks deep at happy hour, only to dutifully fetch her coffee the next day.» Ultimately, the film had effected a positive change in Wintour’s image, Herman argued, «from a tyrant in chinchilla to an idol for the post-Sandberg age».[18]
As the film turned 10, Variety‘s 2016 article stated, ‘[The characterization] showed Hollywood that it was never wise to underestimate a strong woman’s worth.’[134]
Antipathy to Nate[edit]
Miranda has not been the only character in the film to provoke a negative reaction from viewers over time; Nate has been called the film’s «real villain» by some.[10] «He mocks her for her new interest in fashion, he trivializes the magazine she works at, and dismisses her hard work», Entertainment Weekly wrote in 2017, collecting some tweets and other posts from social media critical of the character. Many, like the writer of that piece, found it particularly upsetting that he berated Andy for missing his birthday party even though she had a good work-related reason for her absence.[16]
McKenna defended the character. «[W]hat people focus on is that he’s trying to restrict her ambition,» she told EW. «But her ambition is going towards something that she doesn’t really believe in, so he has a point.» While she admitted he seemed «whiney» about his birthday, McKenna also pointed out that he tells Andy later that that really was not what he was upset about. She gave Grenier credit for what she admitted was a «thankless» role, saying he captured «that actual college boyfriend, that guy who’s a drummer in a cool band, and plays intramural rugby, and plays guitar, and maybe took a ceramics class».[16]
Grenier (shown in 2007) has come to terms with the negative reaction his character has gotten
On the film’s 15th anniversary, Grenier weighed in. «When that whole thing … first came out, I couldn’t get my head around it.» He ultimately came to realize that he had more in the common with the character at the time and, like Nate, had not completely matured. «[Now], after taking time to reflect and much deliberation online, I can realize the truth in that perspective … He couldn’t support her like she needed because he was a fragile, wounded boy.»[10]
Hathaway was more forgiving.
I don’t think everybody’s being completely honest with themselves about their own poutiness. Nate was pouty on his birthday because his girlfriend wasn’t there! In hindsight, I’m sure he wishes he made a different choice, but who doesn’t? We’ve all been brats at different points.[10]
Future[edit]
In 2013, Weisberger wrote a sequel, Revenge Wears Prada. However, it does not seem likely that a film version of it, or any sequel, will be made, as two of the film’s stars are not eager to do so. Streep has reportedly said that she is not interested in making a sequel for this film in particular. And while Hathaway admits she’d be interested in working with the same people, it would have to be «something totally different». The Devil Wears Prada, she told Variety «might have just hit the right note. It’s good to leave it as it is.»[9]
Eight years later, Frankel said that while the studio did not ask them to consider a sequel, a meeting was held to discuss possible ideas. As they felt the movie’s story had been told, and there were no good ideas, the idea was dropped. Weisberger said it was «[not] out of the realm of possibility» and discussions have been held since then, but McKenna notes that the technology involved in producing print magazines has changed considerably since 2006, such that it would no longer be necessary for an assistant in Andrea’s position to bring a physical copy of the magazine in progress to the editor’s residence. «It had its moment!» the screenwriter said.[10]
Musical adaptation[edit]
In 2015, it was reported that Broadway producer Kevin McCollum had signed a deal two years earlier with Fox to develop some of the films from its back catalog into musicals for the stage. Two he expressed particular interest in were Mrs. Doubtfire (1993) and The Devil Wears Prada. Early in 2017, McCollum announced that in partnership with Fox Stage Productions, he was developing a musical version of The Devil Wears Prada (based on both the film and the book). Sir Elton John and Shaina Taub will be writing the score and lyrics for the project with playwright Paul Rudnick, who had written some early scenes for the screenplay,[11] writing the book and lyrics. McCollum did not say when he expected it to premiere but hoped it would eventually play on Broadway.[135]
In July 2019, the show held its first industry-only presentation of the initial reading for the show. It featured Emily Skinner as Miranda, Krystina Alabado as Andy, Heléne Yorke as Emily and Mario Cantone as Nigel.[136] There has been no announcement about future workshops or tryouts before the anticipated Broadway run.[137]
In late September a premiere run was announced for July and August 2020 at the James M. Nederlander Theatre in Chicago. According to producer Kevin McCollum, it was important to director Anna D. Shapiro, artistic director of the Steppenwolf Theater Company, also located in Chicago, to have the show premiere there. Afterwards the show is expected to make its Broadway debut; where and when have not been announced.[138]
See also[edit]
- 2006 in film
Films with similar plot elements[edit]
- The Intern, 2000 comedy about an overworked and mistreated low-level employee at a New York fashion magazine
- Swimming with Sharks, 1994 film starring Kevin Spacey as a tyrannical movie producer and Frank Whaley as his beleaguered assistant
Lists[edit]
- List of 2006 box office number-one films in Australia
- List of 2006 box office number-one films in Japan
- List of 2006 box office number-one films in South Korea
- List of 2006 box office number-one films in the United Kingdom
- List of American comedy films
- List of American films of 2006
- List of awards and nominations received by Anne Hathaway
- List of awards and nominations received by Emily Blunt
- List of awards and nominations received by Meryl Streep
- List of comedy films of the 2000s
- List of fiction works made into feature films (D–J)
- List of film director and composer collaborations
- List of films set in New York City
- List of films set in Paris
Notes[edit]
- ^ In a paper comparing the film’s plot to the Psyche myth, Janet Brennan Croft of the University of Oklahoma says the speech «subverts the idea that fashion, the ultimate in feminine work, is trivial», a presupposition of Andy’s it is Miranda’s role to correct, as it is for Aphrodite in the original myth and similar mother-mentor characters in other «heroine’s journey» narratives: «Miranda’s monologue on the color of Andy’s ‘lumpy blue sweater and its place in a vast economic web (which she is quite frank about personally controlling) celebrates feminine power.»[19]
- ^ Helen Mirren’s hair has also been cited as an inspiration[15]
- ^ To qualify that record slightly, Ice Age narrowly lost that opening weekend to Transformers: Revenge of the Fallen, which unlike Superman Returns had opened the previous week.[83]
The following year, The Last Airbender also exceeded The Devil Wears Prada‘s July 4 opening weekend take without winning the weekend, as did The Purge: Election Year in 2016, but neither film broke Ice Age‘s record.[84]
- ^ In 2008, Get Smart outdid Devil‘s domestic box office but took in far less overseas.[88]
References[edit]
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- ^ «‘Devil Wears Prada’ will open L.A. Film Festival». Los Angeles Times. May 31, 2006.
- ^ Aline Brosh McKenna. The Devil Wears Prada. Twentieth Century Fox. 2005. p 18.
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I wanted the freedom to make this person up
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{{cite web}}: CS1 maint: unfit URL (link) - ^ Blooper reel. (2006). The Devil Wears Prada [DVD]. USA: 20th Century Fox.
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The term ‘personal assistant’ has been degraded over the years and is now almost synonymous with the overworked, underpaid heroine of the movie and book The Devil Wears Prada.
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- ^ Rivas, Mekita (July 1, 2021). «The Devil Wears Prada and the Myth of the One and Only ‘Big Break’«. Harper’s Bazaar. Retrieved July 14, 2021.
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- ^ Paulson, Michael (January 26, 2017). «‘The Devil Wears Prada’ Is Aiming for Broadway, as a Musical». The New York Times. Retrieved January 27, 2017.
- ^ MacPhee, Ryan (July 2, 2019). «Emily Skinner and Krystina Alabado Starring in The Devil Wears Prada Musical Reading». Playbill. Retrieved October 6, 2019.
- ^ Marine, Brooke (July 2, 2019). «The Devil Wears Prada Musical Casts Its First Reading». W. Retrieved October 6, 2019.
- ^ Jones, Chris (September 17, 2019). «‘The Devil Wears Prada’ musical will premiere in Chicago, with a score by Elton John». Chicago Tribune. Retrieved October 6, 2019.
Book[edit]
Weisberger, Laura (2003). The Devil Wears Prada. New York: Broadway Books. ISBN 0-7679-1476-7.
External links[edit]
- Official website
- The Devil Wears Prada at IMDb
- The Devil Wears Prada at AllMovie
- The Devil Wears Prada at Box Office Mojo
- The Devil Wears Prada at Metacritic
- The Devil Wears Prada at Rotten Tomatoes
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