ⓘ The Devil Wears Prada (film)

                                     

ⓘ The Devil Wears Prada (film)

The Devil Wears Prada is a 2006 American comedy-drama film directed by David Frankel and produced by Wendy Finerman. The screenplay, written by Aline Brosh McKenna, is based on Lauren Weisbergers 2003 novel of the same name. The film adaptation stars Meryl Streep as Miranda Priestly, a powerful fashion magazine editor, and Anne Hathaway as Andrea "Andy" Sachs, a college graduate who goes to New York City and lands a job as Priestlys co-assistant. Emily Blunt and Stanley Tucci co-star as co-assistant Emily Charlton and art director Nigel Kipling, respectively. Adrian Grenier, Simon Baker, and Tracie Thoms play key supporting roles.

In 2003, 20th Century Fox bought the rights to a film adaptation of Weisbergers novel before it was completed for publication. However, the project was not greenlit until Streep was cast in the lead role. Principal photography ran for 57 days, primarily taking place in New York from October 2005 to December later that year. Additional filming also occurred in Paris.

After premiering at the LA Film Festival on June 22, 2006, the film was theatrically released in the United States on June 30. The film received positive reviews from critics, with Streeps performance being singled out for praise. This earned her many award nominations, including an Oscar nomination for Best Actress, as well as a Golden Globe for Best Actress in a Comedy or Musical. Hathaway and Blunt also drew favorable reviews and nominations for their performances. The film grossed over $300 million worldwide, against its $41 million budget, and was the 12th highest-grossing film worldwide in 2006.

Although the film is set in the fashion world, most designers and other fashion notables avoided appearing as themselves for fear of displeasing US Vogue editor Anna Wintour, who is widely believed to have been the inspiration for Priestly. Still, many allowed their clothes and accessories to be used in the film, making it one of the most expensively costumed films in history. Wintour later overcame her initial skepticism, saying she liked the film and Streep in particular.

                                     

1. Plot

Andy is an aspiring journalist fresh out of Northwestern University. Despite her ridicule for the shallowness of the fashion industry, she lands a job as junior personal assistant to Miranda Priestly, the editor-in-chief of Runway magazine, a job that "millions of girls would kill for". Andy plans to put up with Mirandas excessive demands and humiliating treatment for one year in the hopes of getting a job as a reporter or writer somewhere else.

At first, Andy fumbles with her job and fits in poorly with her gossipy, fashion-conscious co-workers, especially Mirandas senior assistant, Emily Charlton. However, she does find an ally in art director Nigel, and gradually learns her responsibilities and begins to dress more stylishly to show her effort and commitment to the position. She also meets an attractive young writer, Christian Thompson, who offers to help her with her career. As she spends increasing amounts of time at Mirandas beck and call, problems arise in her relationships with her college friends and her live-in boyfriend, Nate, a chef working his way up the career ladder.

Miranda is impressed by Andy and allows her to be the one to bring the treasured "Book", a mock-up of the upcoming edition, to her home, along with her dry cleaning. She is given instructions by Emily about where to leave the items and is told not to speak with anyone in the house. Andy arrives at Mirandas home only to discover that the instructions she received are vague. As she tries to figure out what to do, Andy begins to panic. Mirandas twins, Caroline and Cassidy, falsely tell her she can leave the book at the top of the stairs just as Emily has done on many occasions. At the top of the stairs, Andy interrupts Miranda and her husband having an argument. Mortified, Andy leaves the book and runs out of the house.

The next day, Miranda tells Andy that she wants the new unpublished Harry Potter manuscript for her daughters and, if Andy cannot find a copy, she will be fired. Andy desperately attempts to find the book and nearly gives up, but ultimately obtains it through Christians contacts. She surprises Miranda by not only finding the book but having copies sent to the girls at the railway station, leaving no doubt that she accomplished Mirandas "impossible" task, thus saving her job. Andy gradually begins to outperform Emily at her job, and slowly but surely becomes more glamorous and begins aligning herself, unwittingly at first, to the Runway philosophy.

One day, Andy saves Miranda from being embarrassed at a charity benefit, and Miranda rewards her by offering to take her to Paris for Fashion Week in the fall instead of Emily. Andy hesitates to take this privilege away from Emily, but is forced to accept the offer after being told by Miranda that she will lose her job if she declines. Andy tries to tell Emily on her way to work. Focused more on the phone conversation than on her surroundings, Emily walks out in front of a car while crossing the street and is struck, sustaining a broken leg and other injuries. Andy later breaks the news to a hospitalized Emily.

When Andy tells Nate she is going to Paris, he is angered by her refusal to admit that she has become what she once ridiculed, and they break up. Once there, Miranda, without makeup, opens up to Andy about the effect Mirandas impending divorce will have on her daughters. Later that night, Nigel tells Andy that he has accepted a job as Creative Director with rising fashion designer James Holt at Mirandas recommendation. Andy finally succumbs to Christians charms and, after spending the night with him, learns from him about a plan to replace Miranda with Jacqueline Follet as editor of Runway. Despite the suffering she has endured at her bosss behest, she attempts to warn Miranda.

At a luncheon later that day, however, Miranda announces that it is Jacqueline instead of Nigel who will leave Runway for Holt. Nigel remarks to a stunned Andy that, though disappointed, he has to believe that his loyalty to Miranda will one day pay off. Later, when Miranda and Andy are being driven to a show, she explains to a still-stunned Andy that she was grateful for the warning, but already knew of the plot to replace her and sacrificed Nigel to keep her own job. Pleased by this display of loyalty, she tells Andy that she sees a great deal of herself in her. Andy, repulsed, says she could never do that to anyone. Miranda replies that she already did, stepping over Emily when she agreed to go to Paris. When they stop, Andy gets out and throws her cell phone into the fountain of the Place de la Concorde, leaving Miranda, Runway, and fashion behind.

Sometime later, Andy meets up with Nate, who is moving to Boston because he got a new job as the sous chef of a restaurant. Andy apologizes to Nate, and they joke about grilled cheese in Boston, leaving the future of their relationship uncertain. The same day, Andy is interviewed and is accepted to work at a major New York publication company. The editor recounts how he called Runway for a reference on Andy, and got a response from Miranda herself. Miranda described Andy as "her biggest disappointment" - and said that the editor would be "an idiot" if he did not hire her. Emily is offered her Paris wardrobe by Andy and Emily warns the new assistant that she has big shoes to fill. Andy passes the Runway office building and sees Miranda get into a car. Andy gives a wave, but Miranda does not acknowledge her. Andy is used to this and instead walks further into the crowd. Once inside the car, however, Miranda smiles and then orders her chauffeur to drive.

                                     

2. Cast

Cameos

  • Giancarlo Giammetti
  • Nigel Barker
  • Valentino Garavani
  • Carlos de Souza
  • Heidi Klum
  • Robert Verdi as a fashion journalist in Paris who interviews Miranda
  • Bridget Hall
  • Lauren Weisberger as the twins nanny
                                     

3. Production

Director David Frankel and producer Wendy Finerman had originally read The Devil Wears Prada in book proposal form. It would be Frankels second theatrical feature, and his first in over a decade. He, cinematographer Florian Ballhaus and costume designer Patricia Field, drew heavily on their experience in making Sex and the City.

Frankel recalls the whole experience as having high stakes for those involved, since for himself and the others behind the camera it was the biggest project they had yet attempted, with barely adequate resources. "We knew we were on very thin ice," he told Variety for a 2016 article on the films 10th anniversary. "It was possible this could be the end of the road for us."

                                     

3.1. Production Pre-production

Fox bought the rights to Weisbergers novel before it was not only published in 2003, but even finished. Carla Hecken, then the studios executive vice president, had only seen the first hundred pages of manuscript and an outline for how the rest of the plot was to go. But for her that was enough. "I thought Miranda Priestly was one of the greatest villains ever," she recalled in 2016. "I remember we aggressively went in and scooped it up."

                                     

3.2. Production Writing

Work on a screenplay started promptly, before Weisberger had even finished her work. When it became a bestseller upon publication, elements of the plot were incorporated into the screenplay in progress. Most took their inspiration from the 2001 Ben Stiller film Zoolander and primarily satirized the fashion industry. But it was still not ready to film. Elizabeth Gabler, later head of production at Fox, noted that the finished novel did not have a strong narrative. "Since there wasnt a strong third act in the book," she said later, "we needed to invent that."

In the meantime, the studio and producer Wendy Finerman sought a director. Out of many candidates with experience in comedy, David Frankel was hired despite his limited experience, having only made one feature, Miami Rhapsody, along with some episodes of Sex and the City and Entourage. He was unsure about the property, calling it "undirectable. a satire rather than a love story." Later, he cited Unzipped, the 1995 documentary about designer Isaac Mizrahi, as his model for the films attitude towards fashion: "n choosing her wardrobe my idea was that shes a chief fashion editor, she has her own style," Fields told Womens Wear Daily in 2016. "Were creating an original character."

Field said she avoided prevailing fashion trends for Miranda during production in favor of a more timeless look based on Donna Karan archives and pieces by Michaele Vollbracht for Bill Blass. She did not want people to easily recognize what Miranda was wearing.

She contrasted Andrea and Emily by giving Andrea a sense of style, without much risk-taking, that would suggest clothing a fashion magazine would have on hand for shoots, clothing a recent college graduate with little sense of style would feel comfortable wearing in a fashion-conscious workplace. Blunt, on the other hand was "so on the edge shes almost falling off." For her, Field chose pieces by Vivienne Westwood and Rick Owens to suggest a taste for funkier, more "underground" clothing. After the films release, some of the looks Field chose became popular, to the filmmakers amusement.

Tucci praised Fields skill in putting ensembles together that were not only stylish but helped him develop his character:

She just sort of sits there with her cigarette and her hair, and she would pull stuff - these very disparate elements - and put them together into this ensemble, and youd go, "Come on, Pat, you cant wear that with that." Shed say, "Eh, just try it on." So youd put it on, and not only did it work, but it works on so many different levels - and it allows you to figure out who the guy is. Those outfits achieve exactly what I was trying to achieve. Theres flamboyance, theres real risk-taking, but when I walk into the room, its not flashy. Its actually very subtle. You look at it and you go, "That shirt, that tie, that jacket, that vest? What?" But it works.

He found one Dries van Noten tie he wore during the film to his liking and kept it.



                                     

3.3. Production Production design

After touring some offices of real fashion magazines, Jess Gonchor gave the Runway offices a clean, white look meant to suggest a makeup compact "the chaste beiges and whites of impervious authority," Denby called it. Mirandas office bears some strong similarities to the real office of Anna Wintour, down to an octagonal mirror on the wall, photographs and a floral arrangement on the desk Gonchor later told Womens Wear Daily that he had based the set on a photo of Wintours office he found online; the similarity led Wintour to have her office redecorated after the movies release.

She even chose separate computer wallpaper to highlight different aspects of Blunts and Hathaways character: Pariss Arc de Triomphe on Blunts suggests her aspirations to accompany Miranda to the shows there, while the floral image on Andys suggests the natural, unassuming qualities she displays at the outset of her tenure with the magazine. For the photo of Andrea with her parents, Hathaway posed with her own mother and David Marshall Grant. The Dengel twins recalled being asked every day for three years straight if the Harry Potter advance copies were real; to their great disappointment they were not and in fact were "all gibberish". They eventually auctioned them for $586 on eBay, along with various clothing used in the film, to benefit Dress for Success, a charity which provides business clothing to help women transition into the workforce.



                                     

3.4. Production Products

Aside from the clothing and accessories, some other well-known brands are conspicuous in the film.

  • Apple computers are used in the Runway offices, consistent with many real publishing companies.
  • Mitel IP telephones are used in the office of RUNWAY Magazine – including both reception desks outside the office of Miranda Priestly played by Meryl Streep, Magazine Editor.
  • The two are frequently driven around in Lincoln Town Cars and Mercedes-Benz S-Class S550 without vehicle registration plate sedans.
  • Andrea gives her friend a Bang & Olufsen phone.
  • In one of the scenes Anne Hathaway is driving a Porsche 911 Carrera Cabriolet.
  • Miranda drinks coffee from a nearby Starbucks.
  • Bottles of Italian San Pellegrino mineral water are seen in the Runway offices.
  • Andrea uses a Danger Hiptop 2 or a T-Mobile Sidekick 2 mobile phone, and Miranda a Motorola RAZR V3 in silver, same as Nigels.


                                     

3.5. Production New York

  • Andy gets on the subway at the Spring Street station and gets off at 51st Street, both on the Lexington Avenue Line.
  • The Runway offices are partially corridors in the neighboring Fox building and partially sets.
  • Bubbys, the restaurant Nate works at and where Andrea, Doug and Lily eat dinner on occasion is in TriBeCa.
  • The Smith & Wollensky steakhouse and its kitchen were used.
  • The Elias-Clarke cafeteria is the one at the Reuters office in Manhattan.
  • Nate and Andys apartment is on the Lower East Side.
  • The New York Mirror newsroom where Andrea gets hired at the end of the film is that of the now-defunct New York Sun.
  • The Calvin Klein showroom is used in the deleted scenes.
  • Christian gives Andy the unpublished Harry Potter manuscript at the St. Regis Hotels King Cole Bar.
  • The American Museum of Natural History was used for the exterior of the museum benefit, while the lobby of one of the Foley Square courthouses is used for the interior.
  • Holts studio is a loft used by an actual designer.
  • The Priestly townhouse is on the Upper East Side and belongs to a friend of Finermans. It had to be dressed on short notice after another one could not be used.
  • Streep exits her limousine, supposedly in Paris, at 77th Street and Central Park West.
  • The McGraw-Hill building on Sixth Avenue was used for the exteriors and lobby of Elias-Clarkes headquarters.
  • The cafe where Andy apologizes to Nate was the Mayrose at 920 Broadway near the Flatiron Building, which has since closed. On its site is a Flying Tiger Copenhagen store.
  • The Amtrak train the twins are taking is going up the Hudson River at Haverstraw Bay.
                                     

3.6. Production Paris

The crew were in Paris for only two days, and used only exteriors. Streep did not make the trip.

  • The fountain Andy throws her phone into is on the Place de la Concorde.
  • All the hotel interiors are actually the St. Regis in Manhattan. The fashion shows were filmed on a soundstage in Queens. Likewise, Christians hotel is the Times Square W Hotel.
                                     

3.7. Production Editing

Mark Livolsi realized, as McKenna had on the other end, that the film worked best when it focused on the Andrea-Miranda storyline. Accordingly, he cut a number of primarily transitional scenes, such as Andreas job interview and the Runway staffs trip to Holts studio. He also took out a scene early on where Miranda complimented Andrea. Upon reviewing them for the DVD, Frankel admitted he hadnt even seen them before, since Livolsi didnt include them in any prints he sent to the director.

Frankel praised Livolsi for making the films four key montages - the opening credits, Mirandas coat-tossing, Andreas makeover and the Paris introduction - work. The third was particularly challenging as it uses passing cars and other obstructions to cover Hathaways changes of outfit. Some scenes were also created in the editing room, such as the reception at the museum, where Livolsi wove B-roll footage in to keep the action flowing.

                                     

3.8. Production Music

Composer Theodore Shapiro relied heavily on guitar and percussion, with the backing of a full orchestra, to capture a contemporary urban sound. He ultimately wrote 35 minutes of music for the film, which were performed and recorded by the Hollywood Studio Symphony, conducted by Pete Anthony. His work was balanced with songs by U2 "City of Blinding Lights", Miranda and Andrea in Paris, Madonna, KT Tunstall "Suddenly I See", female montage during opening credits, Alanis Morissette "Crazy", Central Park photo shoot, Bitter:Sweet "Our Remains," Andrea picks up James Holts sketches for Miranda; Bittersweet Faith, Lilys art show, Azure Ray "Sleep," following the breakdown of her relationship with Nate, Jamiroquai "Seven Days in Sunny June," Andrea and Christian meet at James Holts party among others. Frankel had wanted to use "City of Blinding Lights" in the film after he had used it as a soundtrack to a video montage of Paris scenes he had put together after scouting locations there. Likewise, Field had advocated just as strongly for "Vogue."

The soundtrack album was released on July 11 by Warner Music. It includes all the songs mentioned above except Madonnas "Jump" as well as a suite of Shapiros themes. Among the tracks not included is "Suddenly I See," which disappointed many fans. It became popular as a result of the film.



                                     

4. Pre-release and marketing

Originally intended just to convince Fox to fund some shooting in Paris, Frankels sizzle reel led the studio to put a stronger marketing push behind the movie. It moved the release date from February to summer, scheduling it as a lighter alternative audiences could consider to Superman Returns at the end of June 2006, and began to position it as an event movie in and of itself.

Two decisions by the studios marketing department that were meant to be preliminary wound up being integral to promoting the film. The first was the creation of the red stiletto heel ending in a pitchfork as the films teaser poster. It was so successful and effective, becoming almost "iconic" in Finermans words, that it was used for the actual release poster as well. It became a brand, and was eventually used on every medium related to the film - the tie-in reprinting of the novel and the soundtrack and DVD covers as well.

The studio also put together a trailer of scenes and images strictly from the first three minutes of the film, in which Andrea meets Miranda for the first time, to be used at previews and film festivals until they could create a more standard trailer drawing from the whole film. But, again, this proved so effective with early audiences it was retained as the main trailer, since it created anticipation for the rest of the film without giving anything away.

Gabler credits the studios marketing team for being "really creative". Fox saw the film as "counterprogramming" on the weekend Superman Returns was released. While they knew that the material and Hathaway would help draw a younger female audience that would not be as interested in seeing that film, "e didnt want it to just seem like a chick flick coming out."



                                     

5.1. Reception Critical response

The Devil Wears Prada received positive reviews from critics. On Rotten Tomatoes the film has a rating of 75% based on 194 reviews, along with an average rating of 6.64/10. The sites critical consensus reads, "A rare film that surpasses the quality of its source novel, this Devil is a witty expose of New Yorks fashion scene, with Meryl Streep in top form and Anne Hathaway more than holding her own." On Metacritic, the film has a score of 62 out of 100, based on 40 critics, indicating "generally favorable reviews". Audiences surveyed by CinemaScore gave the film a grade B on scale of A to F.

Initial reviews of the film focused primarily on Streeps performance, praising her for making an extremely unsympathetic character far more complex than she had been in the novel. "With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streeps Miranda inspires both terror and a measure of awe," wrote A. O. Scott in The New York Times. "No longer simply the incarnation of evil, she is now a vision of aristocratic, purposeful and surprisingly human grace."

Kyle Smith agreed at the New York Post: "The snaky Streep wisely chooses not to imitate Vogue editrix Anna Wintour, the inspiration for the book, but creates her own surprisingly believable character."

David Edelstein, in New York magazine, criticized the film as "thin", but praised Streep for her "fabulous minimalist performance." J. Hoberman, Edelsteins onetime colleague at The Village Voice, called the movie an improvement on the book and said Streep was "the scariest, most nuanced, funniest movie villainess since Tilda Swintons nazified White Witch has the nuances of the politics and the tension better than any film - and the backstabbing and sucking-up." Joanna Coles, the editor of the U.S. edition of Marie Claire, agreed:

The film brilliantly skewers a particular kind of young woman who lives, breathes, thinks fashion above all else. those young women who are prepared to die rather than go without the latest Muse bag from Yves Saint Laurent that costs three times their monthly salary. Its also accurate in its understanding of the relationship between the editor-in-chief and the assistant.

Ginia Bellefante, former fashion reporter for The New York Times, called it "easily the truest portrayal of fashion culture since Unzipped and giving it credit for depicting the way fashion had changed in the early 21st century. Her colleague Ruth La Ferla found a different opinion from industry insiders after a special preview screening. Most found the fashion in the movie too safe and the beauty too overstated, more in tune with the 1980s than the 2000s. "My job is to present an entertainment, a world people can visit and take a little trip," responded Field.

Liz Jones, former editor of British Marie Claire, wrote in the Daily Mail that the movie was "a chilling reminder of the most surreal three years of my life." The only detail she found inaccurate was the absence of flowers in Mirandas Paris hotel room - during her tenure as editor, her rooms there or in Milan received so many flowers from designers that she thought she "had died prematurely." She personally vouched for Mirandas personality: "It took only a few weeks in the job for me to mutate into that strangely exotic and spoilt creature: the magazine maven, whose every whim, like those of Miranda. must be pandered to."

                                     

5.2. Reception Commercial

On its June 30 opening weekend, right before the Independence Day holiday, the film was on 2.847 screens. Through that Sunday, July 2, it grossed $27 million, second only to the much bigger-budget Superman Returns, breaking The Patriot s six-year-old record for the largest take by a movie released that holiday weekend that did not win the weekend; a record that stood until Ice Age: Dawn of the Dinosaurs broke it in 2009.

During its first week it added $13 million. This success led Fox to add 35 more screens the next weekend, the widest domestic distribution the film enjoyed. Although it was never any weeks top-grossing film, it remained in the top 10 through July. Its theatrical run continued through December 10, shortly before the DVD release.

"The core marketing was definitely to women," Gabler recalls, "but the men didnt resist going to the movie." She felt that male viewers responded favorably to the movie because they sought a glimpse inside fashion, and because Miranda "was enjoyable to watch." The release date helped generate word of mouth when people who had seen it discussed it at holiday gatherings. "They were talking about it, like a summer reading book," said Gabler.

It had a very successful run in theaters, making nearly $125 million in the United States and Canada and over $325 million worldwide, a career high for all three top-billed actresses at that time. Streep would surpass it two years later with Mamma Mia while Hathaway exceeded it with 2010s Alice in Wonderland. Blunt would not be in a higher-grossing film until the 2014 movie adaptation of the Broadway musical Into the Woods also starring Streep.

It was also Tuccis highest-grossing film until Captain America: The First Avenger in 2011.

                                     

5.3. Reception Anna Wintour

Anna Wintour attended the films New York premiere, wearing Prada. Her friend Barbara Amiel reported that she said shortly afterward that the movie would go straight to DVD. But in an interview with Barbara Walters that aired the day the DVD was released, she called the film "really entertaining" and said she appreciated the "decisive" nature of Streeps portrayal. "Anything that makes fashion entertaining and glamorous and interesting is wonderful for our industry. So I was 100 percent behind it." Streep said Wintour was "probably more upset by the book than the film". Wintours popularity skyrocketed after her portrayal in The Devil Wears Prada. Streep said she did not base her character in The Devil Wears Prada on Anna Wintour, instead saying she was inspired by men she had known previously: "Unfortunately you dont have enough women in power, or at least I dont know them, to copy."

                                     

5.4. Reception International

Weisbergers novel had been translated into 37 different languages, giving the movie a strong potential foreign audience. The international box office would ultimately deliver 60% of the films gross. "We did our European premiere at the Venice Film Festival", Gabler says, where the citys gondoliers wore red T-shirts with the films logo. "So many people around the world were captivated by the glossy fashion world. It was sexy and international."

The Devil Wears Prada topped the charts on its first major European release weekend on October 9, after a strong September Oceania and Latin America opening. It would be the highest-grossing film that weekend in Britain, Spain and Russia, taking in $41.5 million overall. Continued strong weekends as it opened across the rest of Europe helped it remain atop the overseas charts for the rest of the month. By the end of the year only its Chinese opening remained; it was released there at the end of February 2007 and took in $2.4 million.

The greatest portion of the $201.8 million total international box office came from the United Kingdom, with $26.5 million. Germany was next with $23.1 million, followed by Italy at $19.3 million and France at $17.9 million. Outside Europe, Japanese box office was the highest at $14.6 million, followed by Australia at $12.6 million.

Most reviews from the international press echoed the domestic response, heaping praise on Streep and the other actors, but calling the whole film "predictable." The Guardian s Peter Bradshaw, who found the film "moderately entertaining," took Blunt to task, calling her a "real disappointment. strained and awkward." In The Independent, Anthony Quinn said Streep "may just have given us a classic here" and concluded that the film as a whole was "as snappy and juicy as fresh bubblegum."

In most markets the title remained unchanged; either the English was used or a translation into the local language. The only exceptions were Chile, Colombia, Ecuador, Mexico and Venezuela, where it was El diablo que viste Prada and El diablo se viste la moda. In Poland, the title was Diabel ubiera sie u Prady which roughly means "The Devil dresses itself at Prada" rather than "The Devil Wears Prada." In Italian the title was ″Il diavolo veste Prada" which roughly means "The devil wears Prada". In Turkey, the title was "Seytan Marka Giyer," roughly translated as "The Devil Wears Brand-Names." In Romania, the title was "Diavolul se imbraca de la Prada," which roughly means "The Devil Dresses itself from Prada", the same construction being found in the French title, "Le Diable shabille en Prada". The Japanese version is titled "プラダを着た悪魔", which translates as "The devil wearing Prada".

                                     

5.5. Reception Awards and nominations

Three months after the films North American release October 2006, Frankel and Weisberger jointly accepted the first Quill Variety Blockbuster Book to Film Award. A committee of staffers at the magazine made the nominations and chose the award winner. Editor Peter Bart praised both works.

The Devil Wears Prada is an energetically directed, perfect-fit of a film that has surprised some in the industry with its box-office legs. It has delighted the country, much as did Lauren Weisbergers book, which is still going strong on several national bestseller lists.

The film was honored by the National Board of Review as one of the years ten best. The American Film Institute gave the film similar recognition.

The film received ample attention from the Hollywood Foreign Press Association when its Golden Globe Award nominations were announced in December. The film itself was in the running for Best Picture Comedy/Musical and Supporting Actress for Blunt. Streep later won the Globe for Best Actress Musical/Comedy.

In January 2007, Streeps fellow members of the Screen Actors Guild nominated her for Best Actress as well. Four days later, at the National Society of Film Critics awards, Streep won Best Supporting Actress for her work both in Devil and A Prairie Home Companion. McKenna earned a nomination from the Writers Guild of America Award for Best Adapted Screenplay.

When the British Academy of Film and Television Arts announced its 2006 nominations, Blunt, Field, McKenna and Streep were all among the nominees. Makeup artist and hairstylists Nicki Ledermann and Angel de Angelis also were nominated.

At the end of January, Streep received her 14th Academy Award nomination for Best Actress, lengthening her record from 13 for most nominations by any actor male or female. Field received a Best Costume Design nomination as well. Neither won, but Blunt and Hathaway presented the last mentioned award, amusing the audience by slipping into their characters for a few lines, nervously asking which of them had gotten Streep her cappuccino. Streep played along with a stern expression before smiling.

                                     

6. In other media

The success of the film led to a proposed, but unrealized, American dramedy series that was in contention to air for the 2007–08 television season on Fox. It was to be produced by Fox Television Studios, with the premise adjusted for the confines of a traditional half-hour or one-hour dramedy with a single camera set-up. However, it never reached the point of even producing a pilot episode.

With the video release came renewed interest in Weisbergers novel. It ranked eighth on USA Today s list of 2006 best sellers and was the second most borrowed book in American libraries. The audiobook version was released in October 2006 and quickly made it to third on that mediums fiction best seller list.

                                     

7. Home media

The DVD was released on December 12, 2006 and has, in addition to the film, the following extras:

  • "Boss from Hell", a short segment on difficult, nightmarish superiors like Priestly.
  • "Getting Valentino", covering how the designer was persuaded to appear as himself in the film.
  • A five-minute blooper reel featuring, among other shots, unintentional pratfalls by Hathaway due to the high stiletto heels she had to wear. It also includes gag shots such as a chubby crewmember in loose-fitting clothing walking along the runway at the fashion show, and Streep announcing "I have some nude photographs to show you" at the Paris brunch scene. Unlike most blooper reels, it is not a collection of sequential takes but rather a fast-paced montage set to music from the film with many backstage shots and a split screenshot allowing the viewer to compare the actual shot with the blooper. The many shots of actors touching their noses are, Rich Sommer says, a game played to assign blame for ruined takes.
  • "Trip to the Big Screen", a 12-minute look at the films pre-production, discussing the changes made from the novel, how Frankel was chosen to direct and other issues.
  • Five featurettes
  • Audio commentary from Frankel, editor Mark Livolsi, Field, screenwriter Aline Brosh McKenna, producer Wendy Finerman and cinematographer Florian Ballhaus.
  • "Fashion Visionary Patricia Field", a profile of the films costume designer.
  • "NYC and Fashion", a look at the real New York fashion scene and how it is portrayed in the film.
  • The theatrical trailer, and promotional spots for the soundtrack album and other releases.
  • Fifteen deleted scenes, with commentary from Frankel and Livolsi available see below.

Closed captions in French and Spanish are also available. The DVD is available in both full screen and widescreen versions. Pictures of the cast and the tagline "Hell on Heels" were added to the red-heel image for the cover. It was released in the UK on February 5, 2007.

A Blu-ray Disc of the film was released simultaneously with the DVD. The Blu-ray maintains the same features as the DVD; however, the featurettes were dropped and replaced with a subtitle pop-up trivia track that can be watched by itself or along with the audio commentary.

                                     

7.1. Home media Reception

Immediately upon its December 12 release, it became the top rental in the United States. It held that spot through the end of the year, adding another $26.5 million to the films grosses; it dropped out of the top 50 at the end of March, with its grosses almost doubling. The following week it made its debut on the DVD sales charts in third position. By the end of 2007 it had sold nearly 5.6 million units, for a total of $94.4 million in sales.

                                     

7.2. Home media Deleted scenes

Among the deleted scenes are some that added more background information to the story, with commentary available by the editor and director. Most were deleted by Livolsi in favor of keeping the plot focused on the conflict between Miranda and Andrea, often without consulting Frankel.

Frankel generally approved of his editors choices, but differed on one scene, showing more of Andrea on her errand to the Calvin Klein showroom. He felt that scene showed Andreas job was about more than running personal errands for Miranda.

A different version of the scene at the gala was the subject of a 2017 discussion on Twitter when it was rediscovered by Spencer Althouse, Buzzfeed s community manager. In it, instead of Andy reminding Miranda of a guests name after the sickened Emily cannot, Mirandas husband shows up and makes rude comments to not only his wife but Ravitz, the head of Elias-Clark. Andrea earns a silent "thank you" from Miranda when she helps prevent the confrontation from escalating by diverting Raviz with a question of her own.

Althouse and many of the other participants on the thread disagreed as to whether it should have been used; those who said it was properly cut believed that it would have been out of character for Miranda at that point in the film. All agreed, as Glamour wrote, that "his one, brief exchange would have completely changed the movie."

                                     

8. Cultural impact and legacy

In 2016, around the 10th anniversary of the films release, Vanity Fair did a rundown of some Independence Day weekend movie box results from the previous 15 years, noting how some better-remembered films had been bested by films that have not stood the test of time. It called Superman Returns win over The Devil Wears Prada the "most ironic" of these victories. showed Hollywood that it was never wise to underestimate a strong womans worth.

                                     

9. Possible sequel

In 2013, Weisberger wrote a sequel, Revenge Wears Prada. However, it does not seem likely that a film version of it, or any sequel, will be made, as two of the films stars are not eager to do so. Streep has reportedly said that she is not interested in making a sequel for this film in particular. And while Hathaway admits shed be interested in working with the same people, it would have to be "something totally different." The Devil Wears Prada, she told Variety "might have just hit the right note. Its good to leave it as it is."

                                     

10. Musical adaptation

In 2015, it was reported that Broadway producer Kevin McCollum had signed a deal two years earlier with Fox to develop some of the films from its back catalog into musicals for the stage. Two he expressed particular interest in were Mrs. Doubtfire and The Devil Wears Prada. Early in 2017, McCollum announced that in partnership with Fox Stage Productions, he was developing a musical version of The Devil Wears Prada based on both the film and the book. Sir Elton John and Shaina Taub will be writing the score and lyrics for the project with playwright Paul Rudnick, who had written some early scenes for the screenplay, writing the book and lyrics. McCollum did not say when he expected it to premiere but hoped it would eventually play on Broadway.

In July 2019, the show held its first industry-only presentation of the initial reading for the show. It featured Emily Skinner as Miranda, Krystina Alabado as Andy, Helene Yorke as Emily and Mario Cantone as Nigel. There has been no announcement about future workshops or tryouts before the anticipated Broadway run.

In late September a premiere run was announced for July and August 2020 at the James M. Nederlander Theatre in Chicago. According to producer Kevin McCollum, it was important to director Anna D. Shapiro, artistic director of the Steppenwolf Theater Company, also located in Chicago, to have the show premiere there. Afterwards the show is expected to make its Broadway debut; where and when have not been announced.