Prêt-à-porter

Although some Altman films are more tightly focused on a unifying narrative thread, for instance Gosford Park or Cookie's Fortune, Pret-a-porter employs the over-lapping ensemble format perhaps best exemplified in Nashville and, to some extent, MASH. I wonder, however, whether some reviewers have not missed the point of this film. Although there is not linear narrative line, the film is unified by a theme -- that of betrayal. Everyone appears to be betraying someone else in this film, whether a spouse, partner, or close relation, and ultimately wrapped in the naked fashion parade -- the industry betraying its consumers. There are weak aspects of the "plot" to be sure, but also some great performances -- Richard E Grant stands out as a camp classic, while Rupert Everett convincingly plays straight. And how Sophia Loren manages to maintain poise, look stunning, and put in a good comedic performance while wearing hugely over-sized hats is beyond me.

It's hard to understand why so many reputable critics have vilified this film, which is in Altman's Nashville mode—and indeed includes many of the elements that made that earlier film such a critical success. Both address the hypocrisy and viciousness of a big money-making industry, by interweaving a number of loosely connected stories acted by a large celebrity cast. Some of these stories work better than others, in both films; as a previous reviewer noted, in Pret-à-Porter, they all hinge on the central theme of betrayal, with a cumulative effect that is saddening as well as amusing.

The principal difference between the two films lies in the way they end. Nashville is closed off (to my mind, unconvincingly) by an assassination at a political rally. Ready to Wear ends with a breathtakingly beautiful, even erotic acting-out of the story of the Emperor's New Clothes, where almost none of the fashion-industry types realize that the bankrupt designer has clothed all of her models in...nothing. The only one who does get the joke is the clueless and incompetent reporter (Kim Basinger, from Texas, doing a fine retake on Geraldine Chaplin's annoying role in Nashville), who stalks off in a huff.

Apparently lots of critics stalked off in a huff, too. That's too bad, since the film has lots of good qualities. But you miss the point if you don't realize that it's all leading up to that big shaggy-dog-story punchline.

Robert Altman's death three days ago brings to mind not only his movies, but his unique style: letting people develop the characters themselves, and overlapping dialogue. In that sense, "Pret-a-Porter/Ready to Wear" is possibly the best example of his movies. One really gets the feeling that they just filmed whatever happened here. This story of a murder in the midst of a Paris fashion show pretty much does whatever it wants, and does a worthwhile job with it. Starring Marcello Mastroianni, Sophia Loren, and a too-long-to-name list of other people.

So, in conclusion: thanks for everything, Mr. Altman! You were one of the greatest directors of all time!

Like everyone else, I note this didn't have much of a plot, etc. etc. But it was just a hoot to watch. I died every time Richard E. Grant came on the screen -- he's a phenomenal character actor. I say, lighten up! This wasn't just satire/social commentary... there was subtle homage to everything from the Marx Brothers to Fellini. In other words, don't analyze too hard; just enjoy!

7/10

And that's not saying that it's great either. It is not. But it's tremendously low imdb rating makes me wonder who the heck is voting here. Pret-a-Porter is a pretty good Robert Altman film that is no better or worse than Short Cuts, which, while I feel it is a good film, I also think it is overrated. This one is, however, heavily underrated, and they both got the same imdb score from me: 7/10 = 3/4 stars.

This is another attempt to make another Nashville. There's a humongous ensemble cast of actors, some of the best on the planet, a couple of the best who ever lived. The screenwriter doesn't connect it all very well, and lots of the characters seem superfluous or underdeveloped, unlike in Nashville where even the characters who are only in a couple of scenes are as familiar to the viewer as a close friend. I would particularly have liked the Danny Aiello/Teri Garr section to have been removed. It falls pretty flat. The Sophia Loren/Marcello Mastrioanni section, the section that most film buffs are going to be excited for, also plops by its end. And Kim Basinger, a good actress, truly deserving her L.A. Confidential Oscar, is not very good as the Southern U.S. reporter: her accent is difficult to get around, and her character is often annoying, too. Sometimes, though, her pieces succeed.

Many other of the vignettes succeed quite well, although there are never any fireworks about to shoot off. The Tim Robbins/Julia Roberts plot is very funny. The three publishers, Sally Kellerman, Tracy Ullman, and Linda Hunt's attempts to sign photographer Milo (Stephen Rea) to their magazine are all very humorous. The love quadrangle between the two designers, Forest Whitaker and Richard E. Grant, and their lovers is very good, also. Anouk Aimee's section is also great, maybe the best part (Rupet Everett is good, also). I loved her so much in La Dolce Vita and 8 1/2. I was aching for her and Marcello Mastrioanni to interact.

The ending is truly fantastic. It is very well directed and filmed. It's a good film.