The Devil Wears Prada is the movie adaptation of Lauren Weisberger's thinly-veiled roman à clef of the same name, which spent six months on the New York Times bestseller list. It is the story of Andy Sachs, the fresh-faced Ohioan who comes to New York to become a serious journalist, but instead finds herself the unlikely holder of the job "a million girls would kill for," working for the boss from Hell.
This boss is none other than the notorious Miranda Priestly (Meryl Streep), the powerful editor-in-chief of Runway, the nation's foremost fashion magazine. (In real life, Weisberger was the assistant to Vogue's infamous editrix Anna Wintour). While running herself ragged trying to please the woman that has the entire fashion world terrified, Andy's personal life suffers as she starts to transform into what she despises most.
Anne Hathaway (Brokeback Mountain, The Princess Diaries) is eminently likeable as Andy Sachs and Meryl Streep shows that a movie doesn't have to be a drama to turn in a top-notch performance. Also, you don't want to miss the gorgeous Emily Blunt (My Summer of Love) as Andy's bitchy clacker coworker or Stanley Tucci (The Terminal, A Midsummer Night's Dream) as the fashion industry insider who takes her under his wing.
Worth seeing for the fashion alone, The Devil Wears Prada is a comedy that really works. In less capable hands, it could be just another failed adaptation of what was once a popular book. But director David Frankel (Sex and the City) pitches a perfect tone, and it's easily the best work by screenwriter Aline Brosh McKenna (Laws of Attraction, Three to Tango).
Turns out, The Devil Wears Prada is a movie I daresay I may have enjoyed even more than the book. Don't tell my high school English teacher.
What's on the Disc:
Devil-worshippers have a few juicy goodies to choose from on the disc. For openers, there are 15 cute deleted scenes, a slightly overproduced gag reel, and several very good featurettes.
"The Trip to the Big Screen" covers the process of adapting the novel for the screen, "NYC and Fashion" and "Fashion Visionary Patricia Field" talk about styles, "Getting Valentino" shows the trials and tribulations of getting the designer to do his cameo for the movie, and "Boss from Hell" goes over the universal component of the movie with which we can all identify, including clips of real people talking about their own horrible bosses.
Despite including half of the film crew, the commentary of the movie (and deleted scenes) by director David Frankel et al is also pretty interesting.