Devil Wears Prada : Review
Movie : Devil wears Prada (2006)
Directed by : David Frankel
Produced by : Wendy Finerman Karen Rosenfelt
Costume Designer : Patricia Field REVIEW 1 : NEW YORK TIMES
NO man is a hero to his valet. So the saying goes, or used to go, since few men these days actually have valets. But a great many people, men and women alike, heroic at least in their own estimation, have assistants, who scurry after coffee and dry cleaning, endure bursts of foul temper, bask in tiny glimmers of generosity and dream, for long hours at low wages, of revenge. For the legions who have suffered the caprice and cruelty of a tyrannical boss, "The Devil Wears Prada,"Lauren Weisberger's best-selling roman à clef about a bright young woman's brief period of servitude at a fashion magazine, provides the satisfaction of vicarious payback. Its portrait of Miranda Priestly, the imperious editor of a glossy rag called Runway, is a collage of unforgiven slights and unforgotten grudges, glued to the page with pure, righteous venom.
Ms. Weisberger's moral was simple, and hard to dispute: Nobody, however glamorous, successful or celebrated, has the right to treat another person the way Miranda treats her assistants, in particular the narrator, an eager Ivy Leaguer named Andy (short for Andrea) Sachs. But now that "The Devil Wears Prada" is a movie, starring Anne Hathaway as Andy, the lesson is not quite so unambiguous.
I will leave the business of point-by-point comparison to scholars, who will duly note that the screenwriter, Aline Brosh McKenna, and the director, David Frankel, have reimagined a few characters, discarded some plot developments and implanted others, and switched Andy's alma mater from Brown to Northwestern. When these specialists convene a learned panel to discuss their findings, a vigorous debate is likely to emerge. Does the movie, especially in the way it imagines Miranda, betray the novel or correct it?
The literary Miranda is a monster. Ms.
Directed by : David Frankel
Produced by : Wendy Finerman Karen Rosenfelt
Costume Designer : Patricia Field REVIEW 1 : NEW YORK TIMES
NO man is a hero to his valet. So the saying goes, or used to go, since few men these days actually have valets. But a great many people, men and women alike, heroic at least in their own estimation, have assistants, who scurry after coffee and dry cleaning, endure bursts of foul temper, bask in tiny glimmers of generosity and dream, for long hours at low wages, of revenge. For the legions who have suffered the caprice and cruelty of a tyrannical boss, "The Devil Wears Prada,"Lauren Weisberger's best-selling roman à clef about a bright young woman's brief period of servitude at a fashion magazine, provides the satisfaction of vicarious payback. Its portrait of Miranda Priestly, the imperious editor of a glossy rag called Runway, is a collage of unforgiven slights and unforgotten grudges, glued to the page with pure, righteous venom.
Ms. Weisberger's moral was simple, and hard to dispute: Nobody, however glamorous, successful or celebrated, has the right to treat another person the way Miranda treats her assistants, in particular the narrator, an eager Ivy Leaguer named Andy (short for Andrea) Sachs. But now that "The Devil Wears Prada" is a movie, starring Anne Hathaway as Andy, the lesson is not quite so unambiguous.
I will leave the business of point-by-point comparison to scholars, who will duly note that the screenwriter, Aline Brosh McKenna, and the director, David Frankel, have reimagined a few characters, discarded some plot developments and implanted others, and switched Andy's alma mater from Brown to Northwestern. When these specialists convene a learned panel to discuss their findings, a vigorous debate is likely to emerge. Does the movie, especially in the way it imagines Miranda, betray the novel or correct it?
The literary Miranda is a monster. Ms.