O Diabo Veste Prada

The 2006 comedy-drama The Devil Wears Prada was directed by David Frankel from a screenplay by Aline Brosh McKenna, adapted from Lauren Weisberger’s 2003 novel. It stars Anne Hathaway as Andrea “Andy” Sachs, a recent Northwestern University journalism graduate who takes an assistant job at the fictional Runway fashion magazine in New York City. Meryl Streep plays Runway’s formidable editor-in-chief Miranda Priestly, while Emily Blunt is Emily Charlton, Miranda’s senior assistant. Stanley Tucci appears as art director Nigel Kipling, and Adrian Grenier plays Andy’s boyfriend, Nate.

Andy initially regards fashion as a temporary detour before a reporting career, but the demands of Miranda’s office reshape her life. Miranda sends her on exacting errands, including obtaining an unpublished manuscript of the next Harry Potter novel for Miranda’s twin daughters. Andy gains confidence and a more polished appearance with Nigel’s help, yet her availability strains her relationships with Nate and friends. At Paris Fashion Week, she learns that Miranda will protect her own position by sacrificing Nigel’s anticipated promotion, and Andy finally leaves Miranda after being asked to abandon Emily during a crisis.

The film was produced by Wendy Finerman and released by 20th Century Fox on June 30, 2006. Made for a reported $35 million budget, it earned about $326 million worldwide, becoming a major commercial success. Critics particularly praised Streep’s controlled, intimidating performance. She received an Academy Award nomination for Best Actress; costume designer Patricia Field was also nominated for Best Costume Design. Streep won the Golden Globe for Best Actress in a Motion Picture Musical or Comedy.

This adaptation has a specific publishing connection: Weisberger had worked as an assistant to Vogue editor Anna Wintour, a background that fueled public comparisons between Wintour and Miranda. However, the film does not identify Miranda as Wintour, and Streep said she built the character from several people rather than impersonating one editor. The production used New York locations and fashions supplied by leading designers, helping make Runway’s workplace feel like an operating luxury magazine rather than an abstract satire.

The concluding interview scene returns Andy to journalism: she applies for a job at the fictional New York Mirror and receives a favorable reference from Miranda. Their final exchange, followed by Miranda’s slight smile from her car, preserves the film’s ambiguity about ambition, approval, and the personal cost of professional advancement. It is remembered for quotations, fashion imagery, and central clash between Andy’s values.