I was watching The Devil Wears Prada the other day on ITV2 and was reminded just how brilliant it is. Back in 2006, it exceeded expectations – and even now, years later, it still holds up remarkably well. Here’s the review I wrote all those years ago. Enjoy.
Director David Frankel, then best known for his work in television, makes his big-screen mark with this stylish adaptation of Lauren Weisberger’s not-so-stellar novel. What could have been a fairly standard translation instead becomes something far more impressive.
Anne Hathaway and Meryl Streep lead a mesmerising cast in a surprisingly sharp and engaging rom-com. The premise is simple – and wisely kept that way – allowing the characters and their journeys to take centre stage without losing the core of the original story. In truth, Weisberger should be amazed at how Frankel elevates her rather lacklustre book into a genuinely first-rate film.
Hathaway plays Andy Sachs, an aspiring journalist with little interest in fashion, simply trying to get her foot on the bottom rung of the media ladder. Her performance leaps off the screen – capturing Andy’s awkward charm, warmth, and understated determination. From her endearingly clumsy personality to her questionable wardrobe, she’s an absolute joy to watch.
Emily Blunt plays Emily, the fiercely driven assistant who will stop at nothing to climb the fashion world’s ranks. Blunt strikes a perfect balance, delivering a character you both admire and resent in equal measure – a performance that stands out even among her peers at the time.
But it’s Streep who steals the show as Miranda Priestly, the formidable editor-in-chief of Runway magazine. Calculated, commanding, and quietly complex, she delivers a performance of remarkable precision. Every line is laced with icy authority, yet there’s just enough humanity beneath the surface to keep the character endlessly compelling. It’s a performance worthy of the highest recognition – and one that few actors could hope to match.
Stanley Tucci, though somewhat limited by screen time, brings warmth and subtlety to his role, adding an understated charm whenever he appears.
Beyond the performances, the film excels technically. The soundtrack is exceptional, seamlessly woven throughout from the opening moments to the closing credits. The camera work, too, is of a high standard, enhancing both the visual style and the characters’ presence on screen.
Thoughtful Comedy Throughout
Where many rom-coms rely on cheap gags, Prada takes a more thoughtful approach. Its humour feels intelligent and well-earned, underpinned by a deeper message about self-discovery and personal ambition. While there are moments of lighter, more obvious comedy, they land effectively and never feel out of place.
Some scenes are directed with such care that they genuinely resonate on an emotional level. The film transitions effortlessly between humour and sincerity – you can be laughing one moment and completely absorbed in a more serious beat the next.
If there’s a slight criticism, it’s that the ending feels a touch anti-climactic. However, it still delivers a meaningful message about identity and personal choice, leaving you with a sense of satisfaction – and more than likely, a smile – as the credits roll.
Put simply, The Devil Wears Prada is a near-faultless film with wide appeal. Its acting, direction, and soundtrack all come together to create something truly memorable. And in Miranda Priestly, cinema may well have found one of its most iconic modern characters.
It’s an absolute joy to watch. Be a devil – go and see it.
Read the Movie Metropolis review of The Devil Wears Prada 2.
