The Devil Wears Prada 2:
An Emotionally layered Foray into the World of Fashion and Journalism
Dr. Sunaina Jain reviews The Devil Wears Prada 2
A dazzling display of power, position, and paparazzi, glitz and glamour of fashion industry – juxtaposed with a struggling print media industry, global media shifts and the mushrooming of digital spaces – forms the quintessential thematic assortment of The Devil Wears Prada 2. Crafting sequels is always a high stakes game, especially when the original has already achieved the status of a cult classic. Released in 2006, The Devil Wears Prada etched itself into public consciousness with stupendous performances: Merly Streep as Miranda Priestley – the ruthless editor-in-chief of the Runway magazine, Anne Hathaway as the disarmingly endearing Andy Sachs, Stanley Tucci as Miranda’s unfailingly loyal creative director Nigel, and Emily Blunt as fashion industry-trained sharp, efficient, yet somewhat comical Emily Charlton. Watching this ensemble cast joining hands after a score of years is nostalgic as well as deeply satisfying.
​As the sequel emerges after a hiatus of 20 years, the media landscape has undergone a cataclysmic shift with the advent of algorithm-driven social media feeds, ever-scrolling audiences, and downloadable content. The replacement of human designers, coordinators, project managers, etc. with AI-driven processes is no longer a far-fetched proposition, but an unsettling reality that the film tries to explore and interrogate.
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​Meryl Streep, makes a clean sweep, yet again. She can make jaws drop at 76 with her razor-sharp looks, unparalleled grace and unmatched confidence. Not to miss her designer outfits that she carries with an air of authority and she slays it from the beginning to the end! However, times change and so do characters. From an authoritative and almost tyrannical boss lady in Part 1, she is more humane and vulnerable – navigating not just the complexities and fast-changing business trends in the digital world but also her emotional undercurrents. While I missed the ice-cold stares, dismissals dunked in Starbucks coffees, and the iconic “I-care-a-damn” attitude, this mellowed-down version of Miranda lends her character an unmistakable emotional depth.
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The film draws attention to a long-standing societal debate: the cost of ambition for women. Characters like Miranda, Andy, and Emily embody the paradox faced by successful women – admired for their competence and expertise yet judged for their perceived neglect of personal lives. In a male-dominated world, ambition in men is equated with expertise and success, often measured in fame and financial stability, regardless of their presence at home. For women, however, professional triumph frequently comes at a deeply personal cost. Whether it is Andy struggling to balance romantic relationship and friendships amidst hectic work schedules or Miranda feeling guilty for having neglected motherly duties, the film confronts such uncomfortable truths.
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Staying true to the spirit of the much-acclaimed predecessor, the sequel offers a visual feast – carefully curated designer wear, striking fashion accessories, a sprawling villa in Vermont, and a glamorous glimpse into Milan Fashion Week. Yet beneath the splendour and spectacle lies a subtle but significant shift. Miranda, once perched atop an untouchable pedestal, appears to have descended a few steps. Instead of flinging her designer bags and coats at her assistants, she is literally and metaphorically weighed down by her heavy coats, thanks to the complaints by HR departments. The stiff-upper lipped Miranda whose nods or serrated-edged stare or just “That’s all” spoke volumes of her authority, has to make up for a rare editorial lapse. This major oversight makes her fallible, as opposed to her previous picture-perfect professional image.
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Andy Sachs, now an accomplished award-winning investigative journalist, re-enters Miranda’s life through an unexpected twist of fate. As a potential redeemer, Andy takes on the formidable task of restoring Runway’s tarnished reputation. The film crafts high-octane dramatic turns as Andy Sachs moves mountains to save Runway and Miranda Priestley with determination and emotional intelligence. In some of the film’s poignant moments, we see a rare, vulnerable Miranda – moist-eyed, reflective, and quietly regretful about the moments lost with her twin daughters, unravelling the personal cost of a successful career.
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Emily Charlton, once an always-on-her-toes assistant, now emerges as a powerful overseer of luxury retail at Dior, a position of privilege that allows her to settle some scores with her old boss. Her character adds intrigue and tension, serving as a crucial pivot around which much of the film’s central conflict unfolds.
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The sequel also captures contemporary anxieties with perspicacity – corporate downsizing, sudden layoffs, and the precariousness of modern job markets. The old guard gives way to the new when Irv Ravitz, chairman of Elias-Clark, collapses unexpectedly, paving the way for his son Jay Ravitz to take over Runway. A product of the digital age, Jay is result-driven, efficiency- and profit-obsessed, reflecting the hard-nosed practicality of today’s corporate world.
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Many a time, the predecessor walks away with the cake whereas the sequel tries hard to match upto the reputation. However, without a second thought, The Devil Wears Prada 2 deserves equal plaudits this time. Infact, it has the right emotional cadence, nostalgia and feel-good factor. The plot, though predictable, is still gripping; the visuals equally stunning; the performances memorable; and the overall mood – Ye Dil Maange More. Adding to its allure are the celebrity cameos done by Lady Gaga, Simone Ashley, Donatella Versace, Marc Jacobs, Heidi Klum and many more – turning the film into a star-studded splendour.
Overall, the much-anticipated film is a sheer indulgence – a glamorous yet emotionally layered foray into the world of fashion and journalism, put together with alacrity and elan!
