Devil Wears Prada, The

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(c) A.J. Malouin 2008

(Ratings: 8 by Caryl and 9 by Al) (2006—David Frankel —US) (1 hr 49. Rated PG-13 for some sensuality.)

New York City. Paris. Beautiful people. Edgy fashion statements. Over-the-top cocktail parties. Edgy fashion statements. Limousines day and night. A Cinderella story. Edgy fashion statements. Love Conquers All. Meryl Streep as the bloodless dragon who dictates the Fashion Season, and runs her people into the ground, and worse.

Al originally hated this film when he saw it in the first-run theatre, and it was only minutes later, in the parking lot, that he came around to admire it for the fine summerkinda entertainment that it is.

His original disgust of the film was that he could not possibly imagine *why* the Ann-Hathaway character would put up with the abuse from her Meryl-Streep employer. This probably stems from his Pollyanna And Child-Like view of the wrokplace [sic] (and world in general, for that matter.) Caryl (a Republican) immediately set him straight, however. People do such devil’s work for its nearness to glamour and celebrity — all the kingdoms of the world spread out at their feet…or somehow finding its way into people’s closets, in this case. “That’s just what you do,” she said. (Having lived and wroked in Manhattan, Caryl is much more worldly and sophisticated today than Al will ever be. She knows what’s what. By comparison to Caryl, Al is still shoveling alfalfa off the turnip truck.)

So, out of the parking lot and back into the movie.

Ann Hathaway, fresh outta “Brokeback Mountain,” heads to NYC to try to make it as a journalist. It’s hard to break into that profession, so she breaks into the profession of high-glitz glamour instead. Hathaway becomes the new go-fer for Miranda Priestly (played by Meryl Streep,) the devil and high-goddess director of “Runway” magazine.

Priestly is the devil-dervish of cruel efficiency, sweeping through lavish cocktail parties in 15 minutes, and treating her employees as if they were coat racks, or straight-back chairs. Her employees put up with it (Caryl tells Al) because Priestly is the Center Of The Fashion Universe, the dictator of Now and The Future. Her employees want in on that ride.

Priestly hires Andy Sachs [the Ann Hathaway character] on a whim, and guess what happens? Sachs/Hathaway learns to be a huge success as the magazine. She gets a Cinderella transformation clothes-wise. She outwits her co-workers to become Top Dog to Priestly. She goes to Paris on business. She meets her connection to the world of journalism (and of course sleeps with him, then thinks better of it.) She loses and re-wins her “childhood” sweetheart. She loses then re-wins her pre-Cinderella friends. Finally, she moves into the journalism job of which she was dreaming.

It’s allllll great fluffy stuff to watch.

Meryl Streep does her usual Streeply job and is, as always, Rewarding to watch.

Stanley Tuccis is Simply Fabulous as Nigel, the chief art director of “Runway” and (dare we write this pun?) the Fairy Godmother who waves the wands upon the Cinderella transformation of Sachs/Hathaway.

It’s fun to watch Sachs/Hathaway negotiate her fashion faux pas and the mine fields of “Runway.” It’s fun, also, to watch her clatter Priestly lattes through the streets of NYC.

Hathaway has a bit of madonna-like serenity in executing the Priestly directives which are driving her co-workers into neuroses and physical illnesses. These co-workers, as it turns out, have nothing to look forward to excepting more “Runway.” Hathaway, meanwhile, is slumming while she looks for the open door to her heavenly kingdom of being a writer.

As we mentioned top-side, Caryl was taken immediately by “The Devil Wears Prada,” loving it for the summer-time air-conditioned fluff that it is. Al loved it also, once he discovered it was *only* a movie, and *not* the actual intern job he had during the mid-1990s.