A delightfully dishy novel about the all-time most impossible boss in the history of impossible bosses.
Andrea Sachs, a small-town girl fresh out of college, lands the job “a million girls would die for.” Hired as the assistant to Miranda Priestly, the high-profile, fabulously successful editor of Runway magazine, Andrea finds herself in an office that shouts Prada! Armani! Versace! at every turn, a world populated by impossibly thin, heart-wrenchingly stylish women and beautiful men clad in fine-ribbed turtlenecks and tight leather pants that show off their lifelong dedication to the gym. With breathtaking ease, Miranda can turn each and every one of these hip sophisticates into a scared, whimpering child.
THE DEVIL WEARS PRADA gives a rich and hilarious new meaning to complaints about “The Boss from Hell.” Narrated in Andrea’s smart, refreshingly disarming voice, it traces a deep, dark, devilish view of life at the top only hinted at in gossip columns and over Cosmopolitans at the trendiest cocktail parties. From sending the latest, not-yet-in-stores Harry Potter to Miranda’s children in Paris by private jet, to locating an unnamed antique store where Miranda had at some point admired a vintage dresser, to serving lattes to Miranda at precisely the piping hot temperature she prefers, Andrea is sorely tested each and every day—and often late into the night with orders barked over the phone. She puts up with it all by keeping her eyes on the prize: a recommendation from Miranda that will get Andrea a top job at any magazine of her choosing. As things escalate from the merely unacceptable to the downright outrageous, however, Andrea begins to realize that the job a million girls would die for may just kill her. And even if she survives, she has to decide whether or not the job is worth the price of her soul.
The film version was released on June 30, 2006, produced by Wendy Finerman (Forrest Gump), freely adapted for the screen by Aline Brosh McKenna and directed by David Frankel. Anne Hathaway played Andrea, Meryl Streep earned critical praise and a Golden Globe as Miranda, and Emily Blunt played Emily.
Production took place during fall 2005, on location in New York and Paris. Weisberger herself made a very brief non-speaking cameo appearance as the twins' nanny.
It was very successful, taking in over $300 million worldwide, making it the highest-grossing film for both lead actresses. In September Weisberger and Frankel jointly accepted the first-ever Quill Variety Blockbuster Book to Film Award.
On October 12, 2006, Fox Television Network announced that they have acquired the rights to a sitcom version of the series based on the book, which will air in 2007.
It's a killer title: The Devil Wears Prada. And it's killer material: author Lauren Weisberger did a stint as assistant to Anna Wintour, the all-powerful editor of Vogue magazine. Now she's written a book, and this is its theme: narrator Andrea Sachs goes to work for Miranda Priestly, the all-powerful editor of Runway magazine. Turns out Miranda is quite the bossyboots. That's pretty much the extent of the novel, but it's plenty. Miranda's behavior is so insanely over-the-top that it's a gas to see what she'll do next, and to try to guess which incidents were culled from the real-life antics of the woman who's been called Anna "Nuclear" Wintour. For instance, when Miranda goes to Paris for the collections, Andrea receives a call back at the New York office (where, incidentally, she's not allowed to leave her desk to eat or go to the bathroom, lest her boss should call). Miranda bellows over the line: "I am standing in the pouring rain on the rue de Rivoli and my driver has vanished. Vanished! Find him immediately!"
This kind of thing is delicious fun to read about, though not as well written as its obvious antecedent, The Nanny Diaries. And therein lies the essential problem of the book. Andrea's goal in life is to work for The New Yorker--she's only sticking it out with Miranda for a job recommendation. But author Weisberger is such an inept, ungrammatical writer, you're positively rooting for her fictional alter ego not to get anywhere near The New Yorker. Still, Weisberger has certainly one-upped Me Times Three author Alex Witchel, whose magazine-world novel never gave us the inside dope that was the book's whole raison d' etre. For the most part, The Devil Wears Prada focuses on the outrageous Miranda Priestly, and she's an irresistible spectacle.
From Publishers Weekly
Most recent college grads know they have to start at the bottom and work their way up. But not many picture themselves having to pick up their boss's dry cleaning, deliver them hot lattes, land them copies of the newest Harry Potter book before it hits stores and screen potential nannies for their children. Charmingly unfashionable Andrea Sachs, upon graduating from Brown, finds herself in this precarious position: she's an assistant to the most revered-and hated-woman in fashion, Runway editor-in-chief Miranda Priestly. The self-described "biggest fashion loser to ever hit the scene," Andy takes the job hoping to land at the New Yorker after a year. As the "lowest-paid-but-most-highly-perked assistant in the free world," she soon learns her Nine West loafers won't cut it-everyone wears Jimmy Choos or Manolos-and that the four years she spent memorizing poems and examining prose will not help her in her new role of "finding, fetching, or faxing" whatever the diabolical Miranda wants, immediately. Life is pretty grim for Andy, but Weisberger, whose stint as Anna Wintour's assistant at Vogue couldn't possibly have anything to do with the novel's inspiration, infuses the narrative with plenty of dead-on assessments of fashion's frivolity and realistic, funny portrayals of life as a peon. Andy's mishaps will undoubtedly elicit laughter from readers, and the story's even got a virtuous little moral at its heart. Weisberger has penned a comic novel that manages to rise to the upper echelons of the chick-lit genre.
In this debut novel (part of a wave of exposes about bad bosses that is sweeping the publishing world), former Vogue assistant Weisberger provides a telling account of life as an underling at the fictional Runway magazine. Here we meet Andrea Sachs, a recent Ivy League graduate hoping to break into the magazine business, with her ultimate goal being a job at the New Yorker. She accepts an entry-level position at Runway as personal assistant to the editor, Miranda Priestley (rumored to be based on Vogue 's Anna Wintour). However, her new job has nothing to do with writing or editing, and everything to do with predicting and fulfilling every outrageous whim her prima donna boss might have. While the job makes incredible demands on Sachs' personal life, the perks are undeniable: rubbing elbows with celebrities, being outfitted in designer clothes, and jetting off to Paris for fashion shows. Yet Weisberger's characters are all uniformly shallow and two-dimensional, and she seems to be worshiping this lifestyle at the same time that she is supposedly skewering it. However, the book is garnering lots of press, with a film deal also in the works, and Weisberger's dishy style will appeal to many readers.
Just out of college, with aspirations to be a writer, Andrealands an ill-defined job as assistant to the editor of RUNWAYmagazine--Miranda Priestly (rhymes with beastly). Soon Andrea is socaught up with Miranda's outrageous errands (pick up her dog, her car,her just-so lunch) and the world of fashion that she neglects herboyfriend and her needy roommate. Rachel Leigh Cook reads thisfirst-person nightmare at a rapid pace, capturing Andrea'sna?veté and skewering the city weirdos she encounters. But it'sher performance of the insipid and demanding "boss from hell" thatwill stick with you. Eventually Andrea tells the devil off but notbefore you've had a highly entertaining listen. J.B.G.