Una inteligente pero sensata recién graduada consigue un trabajo como asistente de Miranda Priestly, la exigente editora jefe de una revista de alta costura.Una inteligente pero sensata recién graduada consigue un trabajo como asistente de Miranda Priestly, la exigente editora jefe de una revista de alta costura.Una inteligente pero sensata recién graduada consigue un trabajo como asistente de Miranda Priestly, la exigente editora jefe de una revista de alta costura.
- Nominado para 2 premios Óscar
- 21 premios y 53 nominaciones en total
Argumento
¿Sabías que...?
- CuriosidadesOn the first day of filming, Meryl Streep told Anne Hathaway, "I think you're perfect for the role. I'm so happy we're going to be working together." Then she paused and followed it up with, "That's the last nice thing I'll say to you." And it was.
- Pifias(at around 1h 25 mins) When Nigel and Andy are toasting for Nigel's new job, they're each holding a glass. In the next scene, Nigel has no glass but Andy is still holding hers, then the camera shifts and Andy is holding both glasses.
- Citas
Jocelyn: [holding up two belts] It's a tough call. They're so different.
[Andy snickers; everyone in the room stops and stares at her]
Miranda Priestly: Something funny?
Andy Sachs: No... No, no, nothing's... you know, it's just... both those belts look exactly the same to me. You know, I'm still learning about this stuff and, uh...
Miranda Priestly: "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?
[turns to an outfit she is styling]
Miranda Priestly: I think we need a jacket here.
[Nigel nods, leaves the room]
Miranda Priestly: And then cerulean quickly showed up in the collections of eight different designers. And then it, uh, filtered down through the department stores, 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 the sweater that was selected for you by the people in this room... from a pile of "stuff".
- Créditos adicionalesThe credits have a sheen on them, like they've been given a coat of polish.
- Banda sonoraSuddenly I See
(2005)
Written and Performed by KT Tunstall
Courtesy of Virgin Records
Under license from EMI Film & Television Music
It has to do with some hardwired notion of richness in the way we perceive things. My own theory is that usually we encounter things that to be understood have to be placed in some sort of context. We have to provide that context by being whole beings who have our own world and understand it. But we don't, usually. We're incomplete, lazy about this. We want prefabricated worlds to provide context and eliminate ambiguities.
That's why we prefer it when an object comes with its own context, like in pop music where there is no vacuum for us to use. Fashion is the same way: there's some sort of bold statement, but it only works if all the holes are filled with accompanying items and attitudes.
And its the same with movies. If you want a movie to be popular, to sit well in the popular eye, you need to make it lush in the small. This project shows signs that it is carefully produced in this way. Look at what happens in the backgrounds: colors, energy, motion. Look at what happens in the blocking: compound events conflated. Look at even the simple setup where a friend sees our young heroine flirt with a suitor. There's a huge amount of attention paid to the environment and the people which surround her.
A Paris street walk is another very fine example.
It isn't as valuable as what I usually look for: actual cinematic art. This is more craft, stagecraft. But it is well enough done to be admired. And entirely apt for a story about an industry that does the same thing.
+++++
There are essentially four characters in this. The boss, our young writer, the "first assistant" who is placed in between in several ways, and the gay (we infer) fashion expert who is placed in between in other ways.
Part of the richness is that each of these is fuller than the usual "lesson" movie would have. All four are compelling performances. But if you haven't yet seen this, I'd like you to pay particular attention to Emily Blount. She's the number 1 assistant.
You've probably seen her before in the very special "My Summer of Love," something human about love and seductions. I think she's a real talent, something different than the others. Oh, they're very good at what they do, finding the right notes. But this woman has something else, something more visceral.
You see, you can dance your own context into this and turn it from something that has no room for you. Try it by following the Emily Blount character, whose name is also Emily. (Hathaway's character is the "new Emily.")
+++++
The moral issue we are meant to capture is more sophisticated than usual, too. Streep's character isn't a devil at all. She isn't quite a useful person in the manner that she actually creates. She doesn't make anything. She doesn't create or design or do anything normally considered the root of the food chain in term of value.
She's part journalist, a sort of elevated, influential journalism that Anne's character doesn't have the horsepower to accept. She's also an arbiter of what matters. Its not a new notion, that some journalists create the world they present, and make it seem real by absolute consistency and projected confidence. Its what politics is. Fashion and politics, religion.
That final challenge, about whether our young journalist will follow what she sees as the devil, that final challenge is more complex than it seems. And though this is a mainstream movie, part of the enrichment is that they didn't tone it down. And they left us with the conclusion that the girl left and wrote the story we see, one which casts the successful worldbuilder as the devil.
++++
Speaking about worldbuilders and fashion. To appreciate this movie, you must see the one on which it relies, "Funny Face." Audrey Hepburn, with the smile that Hathaway mines. Similar situation: fashion, clunky girl becomes fashionably adept, conflict between the "real" and pretend (in that case, philosophy). A trip to Paris some of the very same establishing shots in fact. An ambiguous resolution that in Hepburn's case involved photography instead of writing.
That movie made Jackie Kennedy possible, which made Jack Kennedy president, and from there, another "wall of sound" that built a reality, incidentally concurrent with the rise of Phil Spector...
Ted's Evaluation -- 3 of 3: Worth watching.
- tedg
- 1 jul 2006
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Detalles
- Fecha de lanzamiento
- Países de origen
- Sitio oficial
- Idiomas
- Títulos en diferentes países
- El diable es vesteix de Prada
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 35.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 124.740.460 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 27.537.244 US$
- 2 jul 2006
- Recaudación en todo el mundo
- 326.717.337 US$
- Duración1 hora 49 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.39 : 1