The
Devil Wears Prada is a snappy comedy/drama elevated above
the normal summer fare by Meryl Streep’s searing performance
as fashion czarina, Miranda Priestly. The story is sound, if a
bit predictable, with outstanding performances by Stanley Tucci
and Emily Blunt in supporting roles. Populated with character archetypes
(and some stereotypes), the film never rises to the classic it
might have had it developed more complex characters. As it is, The
Devil Wears Prada is not dressed
to kill, but considering its strong underlying
structure, it’s
both pleasing to the eye and one’s story sense.
SPOILERS AHEAD
The
story revolves around fashionista Miranda Priestly, editor-in-chief
of Runway, a top New York fashion magazine, and the efforts to
find her a suitable assistant capable of managing Miranda’s personal
and professional affairs in the air kissing, backstabbing, cut throat
fashion industry (Overall Story Domain of Manipulation). Surviving
at Runway involves as much looking the part (OS Concern of Playing
a Role) as aptitude. Thematically, the story explores “desire” as
a commodity as seen by it’s creators, its consumers, and its
critics (OS Issue of Desire) contrasted by their abilities to create,
consume, and evaluate it (OS Counterpoint of Ability). Unexpected
events and decisions create havoc in their little universe (OS
Problem of Expectation) such as back stage wheeling and dealing for product
placements, fashion designs, and even corporate management. To the
staff of Runway, however, conflict seems to come from Miranda’s
constant testing of each and every one of them (OS Symptom of
Test)
with sporadic instances of trust smoothing ruffled feathers (Os
Response of Trust).
The
Story Goal is established within the first five minutes of the
film. Runway’s editor Miranda Priestly needs a new assistant
who can appear to be effective and in control at all times (Story
Goal of Playing a Role). To the surprise of many, Miranda hires a
fashion-challenged “fat girl” (Andy) to be her second
assistant (Story Driver of Decision). The road to Fashion Week in
Paris, France sets the Story Limit as an Optionlock since there are
certain hurdles that must be passed to get to the fashion capitol
of the world.
Andrea “Andy” Sachs is the Main Character. She is a
just-out-of-college fledgling journalist looking for work in the
big apple. Fate hands her a “to die for” position as
Miranda’s second assistant—a job inappropriate for her
fashion-free lifestyle (Main Character Domain of Situation). This “dream” job
can make her career if she stays with it long enough (MC Issue
of Fantasy). The difficulty is that the more Andy gets into her job,
the more she loses her personal life such as friends, family, and
her boyfriend (MC Concern of How Things Are Changing). Though she
views this sidetrack from her journalism career as temporary, she
is frantic whenever it looks as though she might be fired (MC
Problem of Ending). However, she constantly tests the patience of those near
and dear to her (MC Symptom of Test) and only has moments of peace
when they trust her and she them (MC Response of Trust).
Miranda
Priestly is the Impact Character. She is Ms. Attitude (Impact
Character Domain of Fixed Attitude). What Miranda wants, Miranda
gets—and she always wants it NOW (IC Concern of Impulsive
Responses).
When she is questioned or disappointed or denied, her displeasure
manifests itself in her stares and caustic remarks questioning Andy’s
worth to her (IC Issue of Worth). Miranda’s completely
unrealistic expectations nearly break Andy (IC Problem of Expectation),
and her incessant testing is a major source of irritation (IC
Symptom of Test) only briefly broken when Andy earns new levels
of trust (IC
Response of Trust).
Though
Andy has a boyfriend, her relationship with Nate is hardly the
Main Character vs. Impact Character (M/I) throughline. Nate even
recognizes that Andy’s relationship with Miranda is the key
relationship in her life…and that relationship is all about
what each can do for the other (M/I Domain or Activity; M/I
Concern of Doing). Expectations are at the heart of conflicts in this throughline
as well (M/I Problem of Expectation), though they thematically explore
the chasm between Miranda’s vast experience and Andy’s
inexperience in the work place. Andy doesn’t realize it, but
Miranda is training her to be another…Miranda.
When
they arrive in Paris for Fashion Week, the climax ensues. Miranda
manages to retain her position as queen of Runway magazine though
a lot of backroom manipulation. Andy nearly succumbs to the temptations
of the vapid side but backs off when she realizes she’s beginning
to do things just like Miranda such as alienate friends and family.
Andy gets back on track with her original goal (Main Character
Resolve of Steadfast) by quitting her job as Miranda’s assistant (Story
Outcome of Failure) and pursuing a job in journalism. Now in a better
place personally (Story Judgment of Good), Andy reconnects with her
boyfriend and begins recovering from her ordeal at Runway. Andy interviews
for a new job at a small, New York newspaper. She is surprised to
hear that Miranda Priestly personally and atypically recommended
Andy for the position stating that Andy was her biggest disappointment
and the newspaper manager would be an idiot not to hire her (Impact
Character Resolve of Change).
The
supporting characters in The Devil Wears Prada are surprisingly
simple and nearly Dramatica archetypes. Fashion designer Nigel
represents the Help side of the Guardian archetype while Andy’s girlfriend
Lily represents the Conscience side of the Guardian. First assistant
Emily is solidly Emotion, while Andy’s boyfriend Nate is a
straightforward Sidekick. Sexy Simon Baker is a simple Contagonist
as both Temptation and Hinder. Fortunately, Andy is not an archetypal
protagonist, nor Miranda an archetypal antagonist. They are far more
complex than all of the other characters combined.
With
a solid storyform at its center, The Devil Wears Prada dresses
up a familiar story with sharp wit, likeable characters, and a
remarkable performance by Meryl Streep. All four throughlines are
explored with robust storytelling that should give the film some “legs.” That’s
the magic of good stories told well—they never go out of fashion.
