The Devil Wears Prada

Tags

2000's, Adrian Grenier, Anne Hathaway, Comedy, David Frankel, Drama, Emily Blunt, Meryl Streep, Simon Baker, Stanley Tucci, The Devil Wears Prada

Film Title

The Devil Wears Prada

Director

David Frankel

Starring

• Meryl Streep as Miranda Priestly
• Anne Hathaway as Andy Sachs
• Emily Blunt as Emily Charlton
• Stanley Tucci as Nigel
• Adrian Grenier as Nate
• Simon Baker as Christian Thompson

An amusing comedy drama about a young woman’s journey in the world of fashion under the boss from hell, The Devil Wears Prada gets laughs and some surprising dramatic weight. As formulaic as some of it is, it is still a very funny satire on the fashion industry, benefiting from a talented cast.

Andy Sachs is a fresh-faced college graduate who wants to be a journalist and is just out of university. An opportunity comes knocking in a strange way, after not having much luck in finding work. She is in turn recommended a job working at  Runway, a New York fashion magazine headed by the notorious and commanding editor in chief Miranda Priestly. She is to be the junior assistant to her, which is a job so many people would give their lives for. Although she has no interest in fashion or the whole scene that she views as shallow, she gets the job unexpectedly. Yet Andy is totally unprepared for what she’ll have to deal with while being assistant to the very high-powered Miranda. What she finds is that Miranda is no walk in the park, but an extremely demanding and at times vicious boss. Having to complete the various, seemingly impossible tasks that Miranda sets her proves to be a severe challenge to someone as wide-eyed as Andy. Andy doesn’t fit in with anyone particularly, not least the snippy senior assistant Emily. Yet with the help of art director Nigel( which includes a glamorous makeover) and adopting of a different attitude towards the industry, Andy starts to succeed and surprisingly get ahead at work. She believes that lasting a year working under the dominating Miranda will be good for references and open doors to her dream. Yet as Andy gets further sucked into the world that she initially disdained, she is forced to confront the fact that her integrity is slipping and that she is rapidly changing into something she never thought she would. Her love life with chef boyfriend Nate begins to sour and she begins to alienate herself from her closest friends, as a result of being at Miranda’s beck and call. But is survival working for Miranda worth sacrificing all for?

David Frankel has a stylish approach to the material, imbued with the right amount of humour and character. I wouldn’t say his direction in The Devil Wears Prada is anything awe-inspiring, but it gets the job done efficiently and with care. Interest does lag within a few scenes that go on for too long( and the main men in Andy’s life don’t particularly give much to the plot of the film). The catty one liners and frequently hilarious events make up for that however, getting your interest as we glimpse a behind the scenes look at a glamorous yet dog eat dog world. Seriously some of the dialogue is priceless in how it skewers the fashion industry and culture, while allowing the relatable but difficult journey for Andy that threatens to overtake her, to feature added depth to the largely funny flick. The look at how easily one can lose themselves in something and feel they have no choice but to oblige is rendered well; owing to the way the script gives measured nuance and surprising insight. Sometimes the film only scratches the surface of what wants to get to in the odd slip, but the satirical edge and stylish glitz are more than sufficient at keeping things in a way that feels fresh for us to enjoy. And like any movie dealing with clothing and image, The Devil Wears Prada is a super stylish and glossy film. From montages to bright colours, it has magazine ready finish from the get go. And while some will say it is just a chick flick, The Devil Wears Prada can equally be enjoyed by men. It’s an all round fun time to be had here in a high glamour world that’s as funny as it is stinging. I mean the while boss from hell plot is a definitely amusing one that I’m sure many people can recall similar situations in their own lives, with less outrageousness I’m sure but you know what I mean. A fashionable soundtrack briskly keeps the film on its course with some great songs to groove to.

Meryl Streep completely steals the show as the demanding and commanding Miranda. Possessing a glacial demeanor and a certain regal poise, she creates a character who may be a tyrannical, but is still quite unexpectedly human despite her frostiness. Miranda both inspires fear and awe within the film and the audience, with Meryl Streep steering her away from just being a wicked caricature. What we get instead of a one-dimensional part is one that is frequently ruthless yet not above revealing a hidden vulnerability, in a nuanced way that Streep effortlessly portrays. Miranda doesn’t need to raise her voice to make a point; a simple purse of the lips, look up and down or a cutting, deadpan remark is enough to reduce anyone to a pile of quivering nerves. A scary, fascinating, darkly funny and fabulous character is brought to life with measured shading and conviction by the always excellent Meryl Streep. Anne Hathaway delightfully portrays the inexperience and uncertainty of Andy, tempered with an intelligence and feeling of doubt over what she can achieve. Hathaway has an inborn sensitivity and vulnerability that I’ve noticed in many of her performances, that is used excellently to make Andy a conflicted yet relatable heroine the audience wants to help. I mean how can you not have sympathy for this girl, going through the motions and figuring out just what she wants to do? Her sheer awkwardness and coltish appearance is rendered nicely by Hathaway, who refuses to make the character a brainless girl.  Emily Blunt gets a whole of laughs in her role of minion to Miranda, whose neurotic and desperation to please provide hysterical desperation and scintillating, bitchy sassiness. Splendid and side-splitting support comes from Stanley Tucci as the confidante, who instructs Andy in how best to approach her job and how Miranda is not above rewarding loyalty, in her own roundabout way of course. Tucci though is the only guy in the film who is actually given something good to do. Adrian Grenier and Simon Baker are left stumbling and with little in the way of material to work with.

So for all the contrivances in the film and how it can seem predictable, The Devil Wears Prada boasts a high entertaining factor, finding humour and pathos from a cast headed by an imperious Meryl Streep and how the whole fashion world is a place of survival. A biting yet somehow sweet engaging and humorous film is what The Devil Wears Prada emerges is, which brings out big enjoyable laughs for the viewer.

Doubt

Tags

2000's, Amy Adams, Doubt, Drama, John Patrick Shanley, Meryl Streep, Philip Seymour Hoffman, Viola Davis

Film Title

Doubt

Director

John Patrick Shanley

Starring

• Meryl Streep as Sister Aloysius Beauvier
• Philip Seymour Hoffman as Father Flynn
• Amy Adams as Sister James
• Viola Davis as Mrs. Miller

John Patrick Shanley directs this adaptation of his own play which powerfully and ambiguously questions the nature of truth, certainty and religion. Doubt really dives into the conundrum and mystery of suspicion, bolstered by one exceptional cast doing fine work with deep material.

In 1964 , austere school principal and nun Sister Aloysius Beauvier runs a Catholic school in The Bronx, where she watches each and every move to keep others in line. She is a woman who strikes fear into the hearts of everyone and believes in discipline where her students are involved. Her ideas are of an old-fashioned mindset, which puts her at odds with popular priest Father Flynn. He is a seemingly kindly man who the children like and whose ideas are progressive in bringing the Church forward. Sister Aloysius has a deep dislike of him and after hearing a sermon that he delivers on the feelings of doubt, she asks young and naive Sister James to keep an eye on him. Shortly after this, Sister James reluctantly reveals that Donald Miller, the school’s first black student, returned from seeing Father Flynn in the rectory, crying and with the smell of alcohol on his breath. This convinces Sister Aloysius that there is something sinister about Father Flynn and she is certain that he has sexually abused the boy. Father Flynn denies any wrongdoing and tells her to leave it alone. But Sister Aloysius is not backing down and takes it upon herself, despite a lack of proof, to bring down Father for what she believes he has done. So begins a battle of wills between the relentless Sister Aloysius and Father Flynn , where the truth is the thing that lies at the complex centre of events but is hidden and speculated with unexpected results.

John Patrick Shanley successfully transports his play from the stage to screen with a subtle building in uneasiness and moral questioning. There is a high level of tense atmosphere at work in Doubt, generated through the way that the dialogue takes on multiple meanings and the tight surroundings that enclose the characters. canted angles and close-ups further enhance the engulfing intensity of the piece. The dark tones of the cinematography, supplied by the great , cement us in the dark and complex time and setting, rarely venturing further than the school for a feeling of deep claustrophobia. The limited setting hints at the movies origins as a play, yet help keep that very aura of intimate drama. Some of Doubt gets stagey from time to time, yet this niggle is quickly rectified by the provocative drama and time for rumination that it ultimately achieves. The amount of tension that fills the frames if the movie took me by surprise in a good way. I really was finding myself questioning who was right and wrong, plus whether personal vendettas and emotions were clouding the judgement of characters. There are those who watch Doubt and find its ambiguity distracting, but for most of us, this added level of intrigue gets you to really deliberate what you make of the combustible situation playing out. What people need to consider is that Doubt is as much a mystery about guilt, possible abuse of power and morality, as it is a drama. A quiet yet well suited score knows exactly when to appear and when to let scenes play out devoid of interference.

Meryl Streep heads the cast with another sterling performance. Burying herself in the self-righteous and stern head nun who is the chief accuser, Streep exudes a no-nonsense attitude( spoken in a harsh and convincing Bronx accent), tempered by a dry wit and occasional time for revelation. Yet the biggest accomplishment of her acting is in the balance of Sister Aloysius, in various subtle and expressive ways that hint at her being something different underneath her austere appearance . She is a fearsome person to say the least who may just be doing this to get rid of Father Flynn , but on the other hand, she seems to want to protect her student from what she believes is inappropriate and disturbing contact. There is a real complexity to this woman that Meryl Streep understands; Aloysius may believe that certainty is on her side, but she may in fact be feeling the strains of time pushing her further away from authority and clear judgement. Playing off her and facing off against her in very intense scenes is the excellent Philip Seymour Hoffman. He manages to make Father Flynn both amiable and somewhat questionable, lending a big dose of ambiguity to everything. With force and skill, Hoffman represents the accused as a man trying to bring the church up to date, and sparring with the pointed finger of Sister Aloysius for something he may or not have done. His scenes with Streep are filled with power and rising suspicion, culminating in an arresting coin which both stars really let loose. Amy Adams beautifully and with considerable nuance plays the sympathetic and good-hearted novice Sister James, who is essentially the audiences guide to being caught between two ends of the spectrum. A sweetness is present in the work that never becomes cloying because of how well Adams imbues the part with a questioning and conflicted heart. Stuck in the middle of both Father Flynn and Sister Aloysius, Sister James is forced to contend with both sets of possibilities, a challenge that Amy Adams more than rises to with a sensitive piece of acting. Rounding out the cast is the brief but superbly played performance from the wonderful Viola Davis. She stars as the mother of the boy who may have been abused and her screen time is mainly confined to one specific scene. But what a powerful and indelible scene it is! Filled with a sadness, conviction and acting in a way that may seem different from what you’d expect from a mother being informed of potentially horrifying treatment of her son, Viola Davis dramatically provides the catalyst of the story, that enables us to see things in a very different way. This is a performance that proves that you don’t need hours on screen to be memorable. The four main actors were all Oscar nominated for their work, and it isn’t any surprise why because of how convincingly they bring to life this thorny drama.

A thought-provoking and building triumph of unbearable tension and questions, Doubt succeeds at getting the audience to really consider the validity of supposedly benevolent actions and just how damaging things can become when there is lack of proof but plenty of speculation. It’s a testament to the acting and directing that Doubt never feels too stagey, instead mounted with a mystery and probing yet subtle approach. What we get is a powerful and intense film that leaves you really contemplating events long after the curtain has been drawn.