It is a privilege to see great actors Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci together again two decades on. Here they are still carping and carrying on in their respective roles. Streep remains the hard-nosed boss Miranda Priestly, at fashion magazine Runway, that Hathaway, as her second assistant Andy Sachs, knew and feared.
Since then, Sachs has moved on to become a highly regarded mainstream journalist. Only, at an awards ceremony where she is lauded, she and other reporters at her paper are unceremoniously dumped (due to the changing face of journalism). So, suddenly she finds herself jobless. At the same time, Runway magazine is mired in controversy for allegedly engaging in “sweat shop” employment.
Sachs receives an unexpected call from the Runway’s chairman (Priestly’s boss), Irv Ravitz (Tibor Feldman), asking her to come work for him. He wants her to rescue the magazine from its precarious predicament. Unbeknown to Priestly, who doesn’t welcome her appointment, Sachs is appointed as the new features’ editor of the now online only publication.
Priestly again has Sachs running rings around her, but at least Sachs has Priestly’s longtime right-hand man, Nigel Kipling (Stanley Tucci) in her corner. The same can’t be said for Emily Charlton (Emily Blunt), Priestly’s former first assistant and now Dior senior executive, who had a prickly relationship with Sachs. As a key advertiser, Dior is vital to Runway’s existence and now Sachs and Charlton must find a way to work together again.
This is merely the starting point for subterfuge and dirty dealings that sees the future of Runway up in the air and, with it, the jobs of Priestly, Sachs and Kipling. New to the cast is Kenneth Branagh, who plays Priestly’s most understanding husband, Stuart. So, too, Justin Theroux as tech entrepreneur Benji Barnes, Charlton’s overly effusive and wealthy boyfriend.
He is also the former husband of billionaire philanthropist Sasha (Lucy Liu). Australian Patrick Brammall assumes the role of Sach’s love interest, property developer Peter. Also watch for a number of cameo appearances from celebrities and a special appearance from Lady Gaga.
The film sees many of the original filmmakers reuniting, which is a decided plus. I speak of screenwriter Aline Brosh McKenna, cinematographer Florian Ballhaus, director David Frankel and producer Wendy Finerman. While the script feels somewhat contrived, it is merely a vehicle for some most appealing interactions between the key players. There is no shortage of sharp one-liners and visual comedy, all delivered seamlessly.
Streep is delightful (so, so good) as the uppity and entitled editor-in-chief of Runway Magazine. Most of the focus falls on Anne Hathaway as the stress head, eager to please new features editor, a role she, likewise, excels in. Stanley Tucci remains debonaire and measured as Miranda Priestly’s reliable sidekick. Emily Blunt carries a “what’s in it for me” attitude as the Dior exec, looking for any opportunity to climb the ladder.
With its sumptuous look, thanks to cinematographer Florian Ballhaus and dreamy fashion choices, The Devil Wears Prada 2 is very easy on the eye. I thoroughly enjoyed the ride, as should fans of the original, in what is a successful return to the well. Rated M, The Devil Wears Prada 2 scores a 7½ out of 10.
Alex First
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Here are Greg King’s thoughts:
Against the backdrop of the fashion industry, The Devil Wears Prada was an entertaining romcom. The film didn’t really need a sequel, but 20 years later, with the same key personnel, we have one, which provides a sense of continuity. It features some gorgeous locations from New York to Milan, fabulous costumes, an A-list cast, and more celebrity cameos than you can point a stick at – all in search of a decent story line.
There are complications involving corporate intrigue, office politics, multi-million dollar buy-outs and desperate behind the scenes deals before everything is resolved. Aline Brosh McKenna’s busy script keeps the film relevant, as she tackles the issue of art versus commerce and also makes a statement about the importance of real journalism in an era of “fake news”, clickbait and digital media, although it doesn’t really have any great impact.
Director David Frankel keeps things moving along at a nice pace and there are many one-liners and clever jokes that land often enough to keep us amused throughout. The movie manages to tap into a sense of nostalgia and provides enough to entertain and amuse.
Score: 6½ out of 10.
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Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.