***
It’s a crowd-pleaser designed to make people feel good. The original, which I first watched recently, has developed a devoted following which can easily recall Meryl Streep’s memorable lines: “Florals? For spring? Groundbreaking…”. And despite my belatedness, I instantly saw why.
The two hours fly by with charm, and fantastic one-liners from beginning to end. For me, fashion is a foreign concept, but twenty years later, the film’s idea of couture fashion does appear dated. It gives the film a warm, nostalgic, feel. For some, 2006 may be a more cherished time and The Devil Wears Prada very much resurrects that era.
After leaving Miranda Priestly’s Runway magazine, Andie has spent much of her journalism career covering events all over the world. Immediately before receiving an award for her exploits, Andie and her colleagues are simultaneously fired. Suddenly at a career crossroads, she accepts a surprise offer to return to Runway as their features editor.
The entire creative team returned for this sequel including writer Aline Brosh McKenna and director David Frankel with the film benefitting as a result. Despite the original’s sterling reputation, it does not try too hard to impress. It keeps the fast-paced, pop-infused rhythm; showcasing New York City in its cosmopolitan glory.
The greatest relief was how comfortably each actor steps back into their character’s shoes. Andie (Anne Hathaway ), Nigel (Stanley Tucci ) and Miranda (Meryl Streep ) all feel like the same people, just maybe a little wiser or slightly jaded. Legacy sequels tend to lean into the passage of time and aging as a narrative device to create conflict. Fortunately, this script allows the film to recapture the endearing dynamics without demeaning or reducing the characters to their life cycle stage. The paternal bond between Nigel and Andie is effortlessly rekindled, as is Miranda’s overall, chilly disposition. The cast’s performances are just as alive and compelling.
There is a focus on how print journalism is gradually fading, and Miranda is regularly reminded that her old, ruthless ways are no longer accepted in the modern work environment.
While I think the latter is explored delicately and leads to some amusing moments thanks to another memorable Streep acting showcase, I found the heavy inclusion of phones and digital media to be disconcerting. Much of the plot relies on screens and mobile phones, and Andie grasps her phone like another limb. It is extremely uncinematic, and a reminder of how dour modern day films can feel.
The new male characters, (B J Novak, Justin Theroux ) are, laughably, lacking in any dimension. They do not rise above cartoonish caricatures of the worst version of business personalities, and it is actually quite jarring when they share scenes with the main cast.
The clothing designs are striking, and the film spotlights them in an alluring and exhilarating way.
There is strong connective tissue with real-life culture and art and, as a result, corporate synergy and product placement are plentiful. It is emblematic of the film’s impressive standing but cynics may see it as an act of commerce rather than art.
That aside, the main draw here is the indelible characters, and the actors portraying them. In that department, this film delivers.
3/5 stars
In Galway cinemas now
