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... when femininity realizes itself in position of exercising dominance over manliness, it begins to derive a sadistic pleasure out of such situation. This is the reason why women bosses and feminized men (girlish, lacking physical strength, short, sexually impotent) are much more likely to terrorize their subordinates, as compared to men bosses, fully confident in their manliness. Why do Saudi kings rule Saudi Arabia as despots, while being obsessed with accumulation of excessive luxuries? Because they profess feminine existential values.
In its turn, this affects their external appearance plump bodies, soft hands, shifty eyes, etc. Every time Saudi king travels abroad, he brings along hordes of his personal bodyguards, masseurs, estheticians and physicians. On the other hand, the current Swedish Minister of Foreign Affairs Carl Bill takes bus to get to work every morning and it does not seem to him as something inappropriate. Why is that?
Because Swedish Ministers masculine ego does not need to be continuously assured of its objective worth, as opposed to what it is always the case with feminine ego. This interlude provides us with the insight on why Miranda Priestly enjoyed humiliating her subordinates her female ego continuously sought an emotional satisfaction in being imposed on others. However, as it appears from the movie, Miranda never ceased to remain bitter, simply because exercising authority, on her part, was something not entirely natural for Runway chief-in-editor. She would be so much happier if being dominated by a strong man; however, she could never find such a man, which does not come as much of a surprise, given the fact that her entourage consisted of sexually progressive faggots, such as Nigel.
This is why, after having watched The Devil Wears Prada, men capable of utilizing their brain cells, will imminently come to conclusion that might sound as follows: Women in position of power should be automatically thought of as morally suspect, simply because exercising such power, on their part, contradicts the laws of nature. When did Andrea begin to grow ever more ignorant towards her friends? It was when she became convinced that millions girls would kill for her job. In other words, Andrea began to change for worse after she became aware of her powers, as assistant to Miranda Priestley. The situation even got worse, once she realized it was up to her to write Miranda's daily schedules and to decide on what people Miranda would be able to meet, during the course of her workday.
It is not simply by an accident that in Andreas conversation with her farther, she rejects the idea of becoming a journalist. As ancient saying goes it is much better being the first person in village, then the last person in Rome. For Andrea, it was much better working as Priestley's secretary, while often exercising executive powers over Runway staff, then becoming fully independent but powerless journalist. Did Andreas gender affiliation play part in such her decision? Most definitely yes. And the reason for this is simple unlike men, women can be easily manipulated into doing just about anything, for as long as they are being reminded about their beauty or about their ugliness long enough.
This is because, subconsciously, women understand perfectly well that it is their physical looks that represent their objective value as individuals, as opposed to their education, professionalism or quick-mindedness. There is another theme, clearly present in The Devil Wears Prada, which points out at women as morally suspect namely, the utter animosity, which always marks the relationship between women. In the book from which we have already quoted, Otto Weininger says: No woman ever believes herself to be anything but beautiful and desirable when she looks at herself in the glass; she never accepts her own ugliness as a painful reality as a man would, and never ceases to try to persuade others of the contrary. What is the source of this form of vanity, peculiar to the female?
It comes from the absence of an intelligible ego, the only begetter of a constant and positive sense of value; it is, in fact, that she is devoid of a sense of personal value. Women always get their sense of value from something outside themselves, from their money or estates, the number and richness of their garments. When two otherwise friendly women realize that they wear the same dress, it instantly turns them into sworn enemies (Weininger, Ch. 10, 120). Besides providing us with a better understanding of the very essence of womens fashion, this quotation explains why The Devil Wears Prada describes the relationship between Andrea and Emily as the relationship between two poisonous spiders, enclosed into a glass container. There is another memorable scene in the movie, when Andrea walks into the office, while wearing some fashionable outfit, much to Emily's dismay, who used justify her dislike of Andrea by the fact that latter did not have a good artistic taste. The paradox consists in the fact that, after Andrea began to actually live up to Emily's own fashionable standards, Emily started to hate Miranda's junior assistant even more then before, as if she felt that by doing it, Andrea had stolen Emily's own identity.
However, as we have pointed out earlier, since identity is not something that can be bought, it cannot be stolen. Apparently, Emily never had possessed any existential identity in the first place. Despite her sophisticate British accent and her rather proficient way with words, Emily never ceased to be what she always was an attractive, but brainless doll. This is the reason why, after Emily gets to be hit by a car, Miranda decides that Emily's services are no longer needed basically, she throws her trusty assistant out on the street, as if she had never even knew her.
It is not too hard to develop Emily's consequential life story she will go back to her native Britain, where she would probably begin telling bitter stories about bloody Americans. Miranda's treatment of Emily points out at womens another psychological quality their inborn sense of cruelty. As Friedrich Nietzsche once said: Women are capable of something men would never do stabbing each other with a stile, while hugging. The validity of this suggestion is best illustrated by how Miranda treats both: Emily and Nigel right to down to the last second, she continued to smile at them and to talk to them gently, while simultaneously intending to destroy their lives.
However, in a society that praises sexual perversion as alternative sex style, ethnic immigrants tendency to gang-rape women and to push drugs out on the street as celebration of diversity, and peoples physical inadequateness as their existential uniqueness, such Priestley's behavior is also being praised as absolutely appropriate. Some movie critics go as far as to suggest that the character of Miranda Priestley can very well serve as a role model for other women who want to get a firm hold of their destinies. The same, although to a lesser extent, is being said about the characters of Emily and Andrea. Of course, it is needless even to mention that such opinions are the opinions of equally corrupted women. However, even these critics do recognize that there is something in heritably disturbing about how movie portrays fashion industry and women, in general. In her article In 'The Devil Wears Prada, ' It's Not Couture, It's Business (With Accessories), Gina Bellafante says: In the mainstream fashion world the movie depicts, no one wears square-toed shoes in the presence of someone who might disapprove of square-toed shoes.
A fashion editor might not genuinely crave the new pump of the hour, but she worries how devalued she " ll be if she doesn't get it. The filmmakers understand that fashion people don't possess artistic souls but actuarial ones, that they are energized more by fear than by desire (Bellafante 2006). Apparently, movies ideological wickedness is being visible even to those who think that there is nothing wrong with charging $ 1900 for a brand name bag, which costs $ 20 to manufacture. In its turn, this indicates that movies hook-nosed producer David Frankel, known for his progressive political views, did a poor job of turning The Devil Wears Prada into another cinematographic tool of peoples spiritual poisoning, simply because movies distastefulness is just too blatant. Throughout the movie, Nigel continues to refer to Runway Magazine office as place where legends walked, while trying to convince Andrea to constantly experience an emotional awe from being turned into Miranda's little dog. However, the watching of this movie actually convinces people in something entirely different from what The Devil Wears Prada was initially intended to promote fashion industry is not about style, artistry or beauty, it is all about money.
Moreover, it is about dirty money just as religion, fashion industry generates income on selling naive people worthless dreams. At the end of the movie, Miranda reveals her true motivation to remain closely associated with fashion industry as such that has nothing to do with her being a perfectionist she simply derives a sadistic pleasure from being envied and feared by those she likes to gently kiss on a cheek, during the course of countless high life ceremonies: Everybody want to be us! . Miranda could not possibly be more wrong not everybody want to exist as social parasites, while taking a perverse pride in the process. This country was founded by those, who despite their lack of sophisticate refinement knew how to appreciate freedom; as such, that represents a foremost value.
It is because many American citizens continue to retain the spiritual qualities of their ancestors that civilization al standards in this country are still being maintained at their current level, even despite the fact that people like Miranda Priestly try very hard to undermine Americas national integrity from within, by openly promoting the ideas of social, cultural and racial decadence. Nowadays, the number of White Americans that are being obsessed with fashionable living grows in arithmetical proportion to the number of newly arrived illegal Mexicans, who do not even know how to use a toothbrush. However, it is these Mexicans (and other immigrants from Third World), and not decadent White sophisticates, who will be dictating fashions standards in this country in very near future, simply because these people have something that White sophisticates have had lost long time ago vitality. Therefore, we cannot help experiencing a strong contempt towards The Devil Wears Prada, as cinematographic statement of degradation and decadence. Bibliography: Bellafante, Gina In 'The Devil Wears Prada, ' It's Not Couture, It's Business (With Accessories). 2006. The New York Times. 6 May. 2009.
web Hillis, Aaron The Devil Wears Prada. 2006. Premiere. Com. 6 May. 2009. web Scott, Andrew In The Devil Wears Prada, Meryl Streep Plays the Terror of the Fashion World. 2006. The New York Times. 6 May. 2009. web The Devil Wears Prada (memorable quotes) 2006.
The Internet Movie Database. 6 May. 2009. web Weininger, Otto Sex and Character. [ 1906 ] 2001. The Absolute. Net. 6 May. 2009.
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