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《穿Prada的女王》影评
有点长
The Devil the Gray Lady
All about vogue.
By Mark Goldblatt
ruman Capote, who had a stake in saying so, once famously declared, "All literature is gossip." He was wrong, of course, but it's the kind of declaration that bamboozles literary types by its very implausibility; something so obviously false must be profound, so it gets repeated at cocktail parties and invoked in book reviews (like this one) until it becomes an inside-out cliché, a false truism, a knowing nod towards nothing whatsoever.
Still, an interesting question emerges if you reverse Capote's dictum and ask whether all gossip is literature. It's a question that surrounds the most gossipy novel in recent years, The Devil Wears Prada by Lauren Weisberger, and percolates within the critical jihad the book ignited at the New York Times. The fact that the paper twice reviewed a literary debut by a previously unknown author would be noteworthy in itself; what's unprecedented is the fact that its reviewers twice ripped the book to shreds — arguing not simply that it fails as literature, but that it should never have been published in the first place.
Why all the fuss?
Weisberger, it seems, once worked as a personal assistant to Vogue editor Anna Wintour, and the novel is thinly veiled account of her nightmarish experiences at the magazine. That this should matter to reviewers at the Times is slightly bizarre — even if, unlike me, you care about Anna Wintour, or you think Vogue has made a significant contribution to Western Civilization. It's not as though Weisberger is sailing into morally uncharted waters. Saul Bellow's latest work, Ravelstein, is a thinly veiled account of his friendship with the critic Allan Bloom, and arguably Bellow's greatest work, Humboldt's Gift, is a thinly veiled account of his friendship with the poet Delmore Schwartz. Both of Bellow's books are warts-and-all portraits, and the same can be said, in spades, for Weisberger's portrait of Wintour. The fact that Wintour is still alive, whereas Bloom and Schwartz were deceased when Bellow immortalized them, cuts both ways. Wintour may be psychically injured by the appearance of her fictional counterpart, Miranda Priestly, but at least she has the chance to distance herself from the ogre Weisberger gives us. With a nod to Capote, then, if at least some gossip is literature, why should Weisberger be pilloried for engaging in it?
None of which is to suggest that The Devil Wear Prada is great art. It is, rather, a wildly uneven book, by turns clumsily self-righteous and wickedly funny. The wafer-thin plot recounts the struggles of the narrator, Andrea Sachs, to maintain both her integrity and her sanity after she lands a "dream job" as personal assistant to Miranda Priestly at Runway. The detail that Andrea's real ambition is to write for The New Yorker would be a perfect ironic touch — she must endure the slickness of fashion in order to achieve fashionable slickness — except that the author seems to regard this as a altogether commendable goal. She is reminded to keep her eyes on the prize by her devoted boyfriend, Alex, who (gag me) teaches underprivileged children; also keeping Andrea grounded is her roommate Lily, whose hard drinking and promiscuity derive from the fact that "she loved anyone and anything that didn't love her back, so long as it made her feel alive."
The chapters with Alex and Lily are at times almost unbearable. Fortunately, they are offset by chapters in which Miranda Priestly takes center stage. Miranda is one of the great comic monsters of recent literature; Cruella de Ville is an obvious antecedent, but Miranda more closely resembles a Hermes-scarf wearing Ahab in pursuit of the great white whale of immediate, absolute indulgence. In Miranda's universe, two pre-publication copies of the latest Harry Potter book must be flown by private jet to Paris so that her twin daughters can read them before their friends; it's up to Andrea to make the arrangements on a moment's notice. Tough, but do-able. More finesse is required when Miranda asks Andrea to hunt down the address of "that antique store in the seventies, the one where I saw the vintage dresser." Of course, Andrea wasn't with Miranda when she saw the dresser, so she winds up trekking to every antique store — and, just to be safe, every furniture store — between 70th and 80th Street in Manhattan, grilling clerks to find out whether the famous Miranda Priestly had stopped by recently. Three days later, Andrea admits defeat . . . only to have Miranda inform her, impatiently, that she's just located the store's business card, the one she thought she'd lost. The address is on East 68th Street.
Miranda requires up to five breakfasts per morning so that whenever she arrives at the office, a hot meal will be waiting; reheating isn't an option. The other four must be thrown out because her assistants aren't permitted to eat in her presence. Nor are they permitted to hang their coats next to hers. Nor to request clarifications if her demands are indecipherable: "Cassidy wants one of those nylon bags all the little girls are carrying. Order her one in the medium size and a color she'd like."
There's a kind of grotesque heroism in this, an obliviousness to the feelings of others that is larger than life — and thus mesmerizing. When Weisberger's novel succeeds, it succeeds on these terms. No one who reads the book will forget Miranda Priestly.
Towards the end of The Devil Wears Prada, Andrea's novelist friend informs her, "What you don't seem to realize is that the writing world is a small one. Whether you write mysteries or feature stories or newspaper articles, everyone knows everyone." Indeed, it's hard for an outsider to grasp just how incestuous, how inbred, the New York publishing scene is nowadays. The odds of finding a non-conflicted reviewer for a gossipy roman a clef about the scene itself are therefore remote. In theory, this isn't a problem — as long as the reviewer approaches the task in good faith. (In good faith, for example, I should note that Weisberger's former writing teacher is a close friend and co-author of mine; on the other hand, her editor at Doubleday once turned down a book I wrote . . . and keep in mind that I'm really an academic, so I'm kind of bivouacked on the outskirts of the milieu Weisberger describes.) To say that the Times lacked good faith in reviewing The Devil Wears Prada understates the utterly unconscionable, and downright vindictive, way the paper went after the thing.
The onslaught began with a full-page review in its Sunday edition by former Harper's Bazaar editor Kate Betts. Betts herself was once Anna Wintour's protégé, a point Betts mentions in her final paragraph — not as a disclaimer but rather as an excuse to lecture Weisberger on the ethics of having written her novel: "I have to say Weisberger could have learned a few things in the year she sold her soul to the devil of fashion for $32,500. She had a ringside seat at one of the great editorial franchises in a business that exerts an enormous influence over women, but she seems to have understood almost nothing about the isolation and pressure of the job her boss was doing...."
This may or may not be true, but it has nothing whatsoever to do with what's between the covers of Weisberger's book. That, however, is the least of Bett's concerns in a review which alternates between sniping at the author and sucking up to former Vogue cronies. "Nobody would be interested in this book," Betts declares, "if Weisberger were spilling the beans about life under the tyrant of the New Yorker." (Tell that to Brendan Gill whose memoir Here at the New Yorker was a bestseller in 1975.) Betts refers to one of Weisberger's characters as "a pale imitation of the incomparable André Leon Talley" (For the record, I know more than a few people in the fashion industry, and they're all remarkably comparable.) and to another as "a cheap shot at the food writer Jeffrey Steingarten, whom she [Weisberger] should have been studying for lessons in how to write." This is nasty stuff. And it's of a piece with the rest of Betts's review — which displays all the emotional maturity and intellectual balance of Leo Gorcey in the old Bowery Boys films. Betts is not critiquing a work of fiction; she's putting up her dukes to defend her home turf.
You'd think Betts's outburst would suffice, from the Times's point of view, would stand as an awkward lapse in editorial judgment but nothing more. You'd be wrong. The newspaper, it turns out, was not through with Weisberger by a long shot. One day later, Janet Maslin weighed in for the daily edition — and matched Betts's spitefulness point by point. Maslin's review begins: "If Cinderella were alive today, she would not be waiting patiently for Prince Charming. She would be writing a tell-all book about her ugly stepsisters and wicked stepmother . . . dishing the dirt, wreaking vengeance and complaining all the way. Cinderella may have been too nice for that, but Lauren Weisberger is not."
Again, what's actually between the covers of The Devil Wears Prada is mere background noise; first and foremost, Maslin is reviewing not the novel itself but the idea of the novel. She refers to it as "a mean-spirited 'Gotcha!' of a book, one that offers little indication that the author could interestingly sustain a gossip-free narrative." With an indignant nod towards Weisberger's recent publicity tour, Maslin speculates that the author "can devote a second career to insisting that [the novel] is not exactly, precisely, entirely one long swat at the editor of Vogue." And again: "The book's way of dropping names, labels and price tags while feigning disregard for these things is another of its unattractive qualities. It's fair to assume that nobody oblivious to names like Prada will be reading this story anyway."
Curiously, Maslin neglects to mention the name Anna Wintour even once in her review. "That was very deliberate on my part," she later explained to the Daily News. "I think that when a tell-all author takes a cheap shot at a well-known person — in a book that would have little reason to attract attention without that cheap shot — then reviewers need not compound the insult (or help promote a mediocre book) by reiterating the identity of the target."
Fair enough, but then why review the book in the first place? Given how many books are published each year, and how few the Times actually reviews, why would the paper twice in two days go out of its way to hammer a first novel by a hitherto unpublished writer? (Another point of disclosure: The Times did not review my first novel last year.) The answer cannot be that The Devil Wears Prada was heavily promoted . . . since even a cursory glance at its own bestseller lists will reveal many mega-hyped books the Times wouldn't touch with a ten-foot highlighter.
Of course, the Times has bigger problems these days — Jayson Blair's tendentious, fabricated reporting and subsequent resignation, Howell Raines's white-man's-burden agonizing and subsequent resignation, and Maureen Dowd's sneaky doctoring of a presidential quote — than the integrity of its book-reviewing process. In another sense, however, the treatment of Weisberger's novel is consistent with, for lack of a better phrase, an absence of adult supervision on 43rd Street.
谁有《穿普拉达的女魔头》里一切 的英笔墨 幕？
这里有部-分 ，详细 的你 能够 去看遵照 原料 ，那里 面另有 对话视频
Emily: Okay, so I was Miranda's second assistant... but her first assistant recently got promoted, and so now I'm the first.
Andy: Oh, and you're replacing yourself.
Emily: Well, I am trying. Miranda sacked the last two girls after only a few weeks. We need to find someone who can survive here. Do you understand?
Andy: Yeah. Of course. Who's Miranda?
Emily: Oh, my God. I will pretend you did not just ask me that. She's the editor in chief of Runway, not to mention a legend. You work a year for her, and you can get a job at any magazine you want. A million girls would kill for this job.
Andy: It sounds like a great opportunity. I'd love to be considered.
Emily: Andrea, Runway is a fashion magazine... so an interest in fashion is crucial.
Andy: What makes you think I'm not interested in fashion?
Emily: Oh, my God. No! No! No!
Andy: What's wrong?
Emily: She's on her way. Tell everyone!
Nigel: She's not supposed to be here until 9:00.
Emily: Her driver just text messaged, and her facialist ruptured a disk. God, these people!
Nigel: Who's that?
Emily: That I can't even talk about.
Nigel: All right, everyone! Gird your loins! Did somebody eat an onion bagel?
Woman: Sorry, Miranda.
Emily: Move it! Ooh!
Miranda: I don't understand why it's so difficult to confirm an appointment.
Emily: I know. I'm so sorry, Miranda. I actually did confirm last night.
Miranda: Details of your incompetence do not interest me. Tell Simone I'm not going to approve that girl that she sent me for the Brazilian layout. I asked for clean, athletic, smiling. She sent me dirty, tired and paunchy. And R.S.V.P. yes to the Michael Kor's party. I want the driver to drop me off at 9:30 and pick me up at 9:45 sharp.
Emily: 9:45 sharp.
Miranda: And call Natalie at Glorious Foods, tell her no for the 40th time. No, I don't want dacquoise. I want tortes filled with warm rhubarb compote. Then call my ex-husband and remind him the parent-teacher conference is at Dalton tonight. Then call my husband, ask him to please to meet me for dinner at that place I went to with Massimo. Also tell Richard I saw all the pictures that he sent for that feature on the female paratroopers…and they're all so deeply unattractive. Is it impossible to find a lovely, slender female paratrooper?
Emily: Yeah.
Miranda: Am I reaching for the stars here? Not really. Also, I need to see all the things that Nigel has pulled for Gwyneth's second cover try. I wonder if she's lost any of that weight yet. Who's that?
趣话 佳句，活学活用
1. Sack
俚语 ，意义 是“开除 ，开除 ”，既能够 做 动词也能够 或者 者 做 名词用，比如 ：
If you are late again the boss will give you the sack. 如果 你 再晚点 ，老板就会把你 开除 。
He got sacked yesterday. 他 近来 被开除 了。
2. Text message
如果 你 的手机是英文语言 提醒 ，你 对这个 讲明 肯定 不生疏 ，没错 ，他 即是 “短信息”的意义 ，比如 ：I just got your text message. 我刚收到你 的短信。那要表现 “发短信”该怎样 说呢？除 用send a text message外，text message也能够 或者 者 做 动词用，表现 “发短信”，比如 片断 中的例句：Her driver just text messaged. 他 的司机刚发了短信。
3. Gird one's loins
这个 片语也写做 gird up one's loins，意义 是“Prepare oneself for action准备 好（行-动 ）”，比如 ：I'm girding up my loins for that crucial interview.
4. R.S.V.P.
Reply to an invitation，既能够 做 动词也能够 或者 者 做 名词，比如 ：
Don't forget to RSVP before Thursday.
He sent a lovely bouquet of flowers with his RSVP.
另外 ，当送出请帖 的时刻 ，也常在上面 写上R.S.V.P.，意义 是“乞求 回复 （会不会来）”。
Miranda: No, I just... It's just baffling to me. Why is it so impossible to put together a decent run-through? You people have had hours and hours to prepare. It's just so confusing to me. Where are the advertisers?
Woman: Oh, we have some pieces from Banana Republic.
Miranda: No, we need more, don't we? Oh. This is... This might be... What do you think of…
Nigel: Yeah. Well, you know me. Give me a full ballerina skirt and a hint of saloon and I'm on board.
Miranda: Hmm. But do you think it's too much like...
Nigel: Like the Lacroix from July? I thought that, but no, not with the right accessories. It should work.
Miranda: Where are the belts for this dre... Why is no one ready?
Woman: Here. It's a tough call. They're so different.
Miranda: Hmm. Something funny?
Andy: No. No, no, no. Nothing's... You know, it's just that both those belts look exactly the same to me. You know, I'm still learning about this stuff and, uh...
Miranda: 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? I think we need a jacket here.
Nigel: Mmm.
Miranda: 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 you've made a choice that exempts you from the fashion industry when, in fact you're wearing a sweater that was selected for you by the people in this room... from a pile of stuff.
Andy: She hates me, Nigel.
Nigel: And that's my problem because... Oh, wait. No, it's not my problem.
Andy: I don't know what else I can do because if I do something right, it's unacknowledged. She doesn't even say thank you. But if I do something wrong, she is vicious.
Nigel: So quit.
Andy: What?
Nigel: Quit.
Andy: Quit?
Nigel: I can get another girl to take your job in five minutes... one who really wants it.
Andy: No, I don't want to quit. That's not fair. But, I, you know, I'm just saying that I would just like a little credit... for the fact that I'm killing myself trying.
Nigel: Andy, be serious. You are not trying. You are whining. What is it that you want me to say to you, huh? Do you want me to say, " Poor you. Miranda's picking on you. Poor you. Poor Andy"? Hmm? Wake up, six. She's just doing her job. Don't you know that you are working at the place that published some of the greatest artists of the century? Halston, Lagerfeld, de la Renta. And what they did, what they created was greater than art because you live your life in it. Well, not you, obviously, but some people. You think this is just a magazine, hmm? This is not just a magazine. This is a shining beacon of hope for... oh, I don't know... let's say a young boy growing up in Rhode Island with six brothers pretending to go to soccer practice when he was really going to sewing class and reading Runway under the covers at night with a flashlight. You have no idea how many legends have walked these halls. And what's worse, you don't care. Because this place, where so many people would die to work you only deign to work. And you want to know why she doesn't kiss you on the forehead and give you a gold star on your homework at the end of the day. Wake up, sweetheart.
趣话 佳句，活学活用
1. fish out
Fish out 的本心 是“捕光某一水体中的鱼”，比如 ：This stream is completely fished out.
Fish out 还能够 表现 “从一堆东-西 中觉察 /找出 ……（一样平常 要费一番气力 ）”，比如 ：She finally fished out the right letter from the files. 做 此意解时，这个 片语也写做 fish up。
He fished up a scandal for the paper to run in the early edition.
2. Pick on
“刻薄 、戏弄 ”的意义 ，比如 ：
She told Mom the boys were always picking on her.
The boss is always picking on him.
Pick on 另有 一位 意义 是“选择 （一样平常 为 选择 去做 不开心 的事情 ）”，比如 ：The professor always picks on me to translate long passages.
3. live in something
意义 是“Continue in existence, memory, or some feeling 活在……之中 ，为……而活”，live in 经常使用 于这样 的短语中，比如 live in the past：Alice lived in the past. 或者 者 live in hope of（连续 希望 某件事情 会发生 ）：Jim lived in hope of getting a teaching post.
另外 ，live in 还能够 表现 “栖身 在工做 或者 学习 的场所 ”，比如 ：
They wanted a baby-sitter who could live in.
The Devil Wears Prada中哪个 第一助理是谁演的？？？
助手 安德丽娅·桑切丝Andrea Sachs（安妮·海瑟薇饰演 ）
女总编 米兰达·普雷斯丽 Miranda Priestly（梅丽尔·斯特里普饰演 ）
女主要的角色 的直系 发 导 ，第一助理
这位助理是典型 的面恶心善，刻薄 的表-面 下面 有一颗刻薄 的心
这是《时尚 女魔头》的演职职员 表，你 对号入坐 就能够 了//
cast for 'The Devil Wears Prada'
《时尚 女魔头》演职职员 表
Meryl Streep - Miranda Priestly
Anne Hathaway - Andy Sachs
Emily Blunt - Emily
Stanley Tucci - Nigel
Adrian Grenier - Nate
Tracie Thoms - Lilly
Rich Sommer - Doug
Simon Baker - Christian Thompson
Daniel Sunjata - James Holt
Jimena Hoyos - Lucia
Rebecca Mader - Jocelyn
Tibor Feldman - Irv Ravitz
Stephanie Szostak - Jaqueline Follet
David Marshall Grant - Richard Barnes
James Naughton - Stephen
Colleen Dengel - Caroline
Suzanne Dengel - Cassidy
Eric Seltzer - Roy
Davide Callegati - Massimo
Alexi Gilmore - Clacker #1
Alyssa Sutherland - Clacker #2
Ines Rivero - Clacker In Elevator
John Rothman - Editor
L.J. Ganser - Marty
George C. Wolfe - Paul
Gisele Bundchen - Serena The Talking Clacker
Paul Keany - St. Regis Butler
James E. Cronin - Ambassador
Rori Cannon - Girl At Party
Stan Newman - John Folger
Heidi Klum - Heidi Klum
Valentino Garavani - Valentino Garavani
Robert Verdi - Fashion Reporter
Lindsay Brice - PR Woman
Bridget Hall - Bridget Hall
John Graham - Book Guy
Wells Dixon - Henry
Valentino - Himself
production credits
剧务职员 表
David Weinman - Leadman
Tom Warren - Art Director
David Rogow - First Assistant Editor
Lydia Marks - Set Decorator
Barrett Hong - Costume Designer
Theodore Shapiro - Composer (Music Score)
Ron Petagna - Construction Foreman, Construction Coordinator
T.J. O'Mara - Sound/Sound Designer
Tom Fleischman - Re-Recording Mixer
Brian Mannain - Set Dresser
Florian Ballhaus - Cinematographer
Blaise Corrigan - Stunts Coordinator
Stephen Lee Davis - Assistant Director
Jodi Michelle Pynn - Stunts
Joyce R. Korbin - Stunts
Victor Chan - Stunts
Angel DeAngelis - Key Hairstylist
George Aguilar - Stunts Coordinator
Ellen Gannon - Production Coordinator
Chris Buddy - Production Secretary
Barry Wetcher - Still Photographer
Sean O'Brien - Grip
Don Roos - Screenwriter
Aline Brosh McKenna - Screenwriter
David Gulick - Properties Master
Bob Colletti - Stunts
Amanda Pollack - Second Assistant Editor
Jill Brown - Stunts
Daniel Paikin - Boom Operator
Melissa Mugavero - Production Assistant
Charlie Marroquin - Key Grip
Kate Butler - First Assistant Camera
Ed Nessen - Second Assistant Camera
Jonathan Arkin - Assistant Art Director
Big Film Design - Visual Effects
Bobby Beckles - Stunts
Marcia Patten - Costume Designer
Ellen Lewis - Casting
Fionnuala M. Lynch - Key Costumer
Evelyne Noraz - Makeup
Wendy Stefanelli - Assistant Costumer Designer
Murphy Occhino - Second Second Assistant Director
Adriaan Van Zyl - Production Assistant
Amanda Hudson - Second Assistant Camera
John Romer - Camera Loader
Mark Livolsi - Editor
David Thompson - Camera Operator
Nicki Lederman - Key Make-up
Alyson Wellins - Art Department Coordinator
Patricia Kerrigan DiCerto - Casting Associate
Jess Gonchor - Production Designer
Lauren Weisberger - Book Author
Edward O'Donnell - Transportation Coordinator
Julia Michels - Musical Direction/Supervision
Karen Rosenfelt - Executive Producer
Daniel Grasso - Set Dresser
J. Daniel Rodriguez - Set Dresser
Gary S. Rake - Second Second Assistant Director
Joby Deluca - Set Dresser
Tracy Cox - Assistant Costumer Designer
Rodney Sterbenz - Set Designer
Jill Graves - Costume Designer
Jennifer Getzinger - Script Supervisor
Maya Hardinge - Makeup
Kori Wilson - Personal Assistant
Dana S. Hook - Best Boy Grip
Robert Chiu - Hair Styles
Peter Lombardi - Production Controller
Michael Pitt - Second Assistant Director
Andrew Sweeney - Dolly Grip
Michael Anthony - Location Manager
Soren Militch - Production Assistant
Gregory Hill - Assistant Art Director
Joseph Abbatecola - Dolly Grip
Monica Celis Baraza - Assistant Production Coordinator
Eve Strickman - Production Assistant
Gregory Cahill - Grip
Nicole Rivera - Personal Assistant
Alec Farbman - Production Assistant
Ted Spiegler - Grip
Lisa Zupan - Personal Assistant
Megan Gargagliano - Production Assistant
Judy Richter - Personal Assistant
Barbara McNamara - Extra Casting
Kate Barker - Personal Assistant
Jacey Taub - Unit Publicist
Tommy R. McGoldrick - Transportation Captain
Stephen Pope - Stunts
Diana Jackson - Personal Assistant
Andrew Day - Gaffer
Julie Schubert - Casting Assistant
Heather MacDonald Norton - First Assistant Camera
Rob Cavalluzzo - Assistant Location Manager
Eric Lewin - Set Dresser
John Machione - Unit Production Manager
Beth Avery - Assistant Location Manager
Wayne T. Brackett - Set Dresser
Nina Johnston - Costume/Wardrobe
Ralph Crowley - Best Boy Electric
Danny Aiello III - Stunts
Al Cerullo - Pilot
John Bernard - Line Producer
David Frankel - Director
Joseph M. Caracciolo, Jr. - Executive Producer
J. Roy Helland - Makeup, Hair Styles
Patricia Field - Costume Designer
Wendy Finerman - Producer
Tom Lappin - Camera Operator
Prada有彩妆线吗
有无 。
Prada美妆这一块现在 惟有 香水和 香水相关 的沐浴 、身体 乳，男士须后成品 。
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