"The Devil Wears Prada – 2". Expectations: a light comedy to unwind in the evening. Reality: a satire on rampant capitalism, its slaves and helpers

Still from the film "The Devil Wears Prada – 2" (The Devil Wears Prada 2)

I don't remember my impressions of the first part of "The Devil Wears Prada," but it seems I've grown up myself and started looking at the world through the prism of politics. They couldn't convince me that expensive rags, around which the franchise revolves, represent any value in this world. Despite the fact that for the film's characters, it's an object of cult, which also offers an opportunity to get rich.

Andy Sachs (Anne Hathaway) almost cries out of resentment that she and her team are fired in one day after twenty years of work, American-style — via SMS message, right during the awards ceremony where they were honored as winners of a journalistic competition.

She didn't have to grieve for long, as she was immediately invited back to "Runway" magazine, which she had fled in the finale of the first film.

And what does Sachs do, after being just used and discarded by rampant capitalism? She not only fawns but also organizes an entire campaign to save her former boss, Miranda Priestly, with whom the magazine is sinking. It would seem like a noble act, if you didn't know what kind of character she is.

Miranda Priestly (Meryl Streep) is an old, malicious, arrogant bitch, the embodiment of the arrogance and detachment from the common people of the Manhattan elite, who has terrorized her own employees for over twenty years, treating them like dirt and her own serfs, only dreaming of when she will be promoted even higher. There is no reason why one should treat subordinates and people around them this way, other than Priestly being a vile person. Obviously, one can publish a fashion magazine without terror, just as one can carry out industrialization without executing the intelligentsia.

This is not the devil mentioned in the title; this is an alien invader who cannot hang her own coat on a hanger, doesn't know about the existence of a cafeteria in her own office, and perceives the necessity of flying on a plane not in business class as exile to the Nerchinsk mines. An unfinished aristocrat in a country without a monarchy. Her only purpose in the film should be to perish as a lesson to others.

But Sachs, armed with a full-face smile that creates an image of a compassionate benefactor, rushes to save her mistress. Why? Well, because money doesn't stink. She was just crying over her insidious dismissal, and now she's already at "Runway" and looking for a freshly renovated apartment in a historic building in a prestigious, elite, and expensive area of Brooklyn, finding herself a man at the same time. Oh, for crying out loud, what a social drama!

Emily (Emily Blunt), the main antagonist of the film, evokes sympathy against this background, as she wants to overthrow the old bitch and take her place. Only because of Sachs, she fails. Priestly tells Emily to her face that she is smart and beautiful but incapable of managing "Runway." It's strange that she didn't add that their charter "is not written for a woman" — that would have been very organic.

No personal development occurs for Priestly throughout the two films; there is no social message in the film other than this: don't go against the power of the rich – and you will be rewarded. As in the first film, Miranda Priestly only bestows Sachs with a smile and compliments for saving her tyrannical power. A paraphrase of a story well-known to all of us in recent years.

Throughout the entire film, the thought never left me that the only ending I wanted to see in it was the theater fire scene from the film "Inglourious Basterds." Because this film is about parasites that have latched onto the body of society, and there's no other way to eradicate them. For those who want to be enraged in two hours — I recommend it!

(But the soundtracks in the film are great.)

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