The September Issue
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Movie Reviews of The September Issue
Movie Review: Behind Every Strong Woman Is a Stronger One
Summary: 3 Stars
The success of television shows devoted to fashion and of websites that follow the runways is ample proof that when it comes to our appetite for fashion, more is more. The handicap that this documentary faces is that we think we know more than we do. Take Anna Wintour, who was so memorably caricatured by Meryl Streep in "The Devil Wears Prada." Anyone would probably pale in comparison to a fictionalized representation of herself by Meryl Streep, so if Wintour emerges from this film as less interesting than you had assumed, it's not her fault.
It may be the fault of the director, however. Surely the world that Ms. Wintour orchestrates is a complicated place, and everyone on screen agrees that Wintour's influence is far-reaching. But no one, least of all the director, seems to be able to say precisely why. Instead, R.J. Cutler's direction gives us redundant shots of Wintour at runway shows or studios (always with dark glasses, which begs the question of whether she can actually see what she is supposed to evaluate) or of her capriciously nixing shots that her staff has spent many hours - and even more dollars - to create. There are a few scenes where we think we will get a glimpse of her fabled powerbrokering (a meeting with the head of Neiman Marcus, for instance), but even then we see few specifics. At times Wintour speaks directly to the camera, revealing, among other things, her siblings' dismissal of what she does professionally, but these moments don't cast her in a particularly sympathetic light. Even her daughter says on screen that she cannot take the industry seriously, and nothing about what Wintour says or is shown to do makes a compelling case for why her daughter - or we - should think otherwise. The film takes as a given the premise that fashion is important and that Wintour is its most important person. Lovers of fashion will go along with the premise, but even they might be troubled that time and again people in the film - Wintour included - betray a fear that fashion is viewed only as a guilty pleasure for stupid people. Wintour's decision to begin putting celebrities on the cover of Vogue is mentioned as a concrete example of her genius (she understood early where our fixation with celebrity in this country was headed), but even that "achievement" is undercut in the film by the sad photoshoot of Sienna Miller.
Ironically, the real heroine of this documentary's story is someone who at first glance does not embody high fashion: Grace Coddington. Ms. Coddington is Vogue's creative director, and her wrinkled face, frizzy hair, and plain black clothing belie her importance in a world that is celebrated for being skin-deep. Through the story Cutler shows us, however, Coddington is revealed as the long-standing source of the magazine's best material. She works tirelessly at the photo shoots she oversees, explaining to those around her the choices behind the textures of the fabrics or the concept of the lighting. Her visions are cohesive and gorgeous, but most importantly, they are intelligently articulated. Under Cutler's direction, the camera lingers over Coddington's tired face and the beautiful images of fashion that she creates, letting us see a highly creative mind at work. That she puts such thought into photographs that are so often blithely thrown out by Wintour (without good explanation as to why, at least on screen) makes her all the more sympathetic. Cutler, perhaps unknowingly, sets her up as everything that Wintour is not, and the comparison is not kind to Wintour. Where Coddington explains her vision and justifies her artistic choices, Wintour simply pronounces her final judgements. Coddington is kind to the models, bringing them treats and asking whether their outfits are too tight, while Wintour jokes about people's weight and demands that fat be photoshopped (even on non-models). Coddington seems to care deeply about the clothing and its details, especially at the couture shoots in France, whereas Wintour often just looks bored. Cutler peels away at the many levels of Coddington, letting the viewer know only gradually that she herself was once a model on the pages of Vogue, and that she suffered a disfiguring accident that required facial plastic surgery. Her story is far more interesting than Wintour's, but that's probably because it is told better.
Ultimately it is Grace Coddington who emerges in this film as the "author" of Vogue, the creator of the very things that readers love most. The "inside" look at Anna Wintour and her control of the magazine sticks to the surface of its supposed primary subjects, and while a focus on the surface of things may be fine for the business of fashion, it won't do for documentary filmmaking. Where the film does triumph, however, is its showcasing of Coddington, who quietly, stubbornly, and convincingly makes the case for fashion as art.
Movie Review: Who is Anna Wintour?
Summary: 3 Stars
Anna Wintour has been Vogue's editor for over 20 years. In her signature blond bob (she has had the same haircut for decades), Anna chooses everything that goes into Vogue, the bible of the fashion world. No decisions are made without her approval.
Glenn Close's character in The Devil Wears Prada was rumoured to be modelled after Anna.
Known for her cold persona and followed by fashionistas all over the world, Anna has a cult-like following. But who is she? Why is she so interested in fashion? Is she as cold-hearted as she appears when sitting in the front row of fashion shows? Is there more to Vogue than just clothes?
The documetary tries to answer some of those questions by filming the making of Vogue's September Issue. This is the largest issue of Vogue every year and can number over 500 pages in some years. It sets the fashion trends for the new season.
The documentary includes interviews with Anna talking about how she became a fashion editor. Her father was a respected writer for a British newspaper and was the one who told her she was going to be the editor of Vogue.
It also shows how it takes a small army of dedicated staff to put together what goes inside the September issue. These include interns, stylists, photographers, and designers etc.
The most interesting scenes are the ones between Anna and Grace Coddington, the lead stylist at Vogue. They started working at Vogue at the the same time and they both grew up in Great Britain during the Swinging Sixties.
There are numerous conflicts between Anna and Grace as they disagree over what should be placed in the magazine. Grace has her own ideas about what makes a good photo which often conflict with Anna's opinions. Anna keeps over-ruling the photos that Grace loves. Too bad we don't see more arguments between them in this film.
The documentary also shows how involved Anna is in supporting young fashion designers like Thakoon who was the recipient of the CFDA grant. Anna is portrayed as very supportive of this young upcoming designer as she visits his studio and gets him a deal with GAP to design a line of white shirts. She actually seems kind of nice.
Of course, there are scenes of Anna at home with her daughter (what happened to the husband? We never see him at all. He is not even mentioned.) There are the usual expected scenes of Anna attending fashion shows, various Vogue-sponsored events, and meetings.
The dvd bonus contains several short documentaries on some of the major players on Vogue's staff. The one about Grace Coddington and how her personal photography collection at home have influenced her work at Vogue was the most interesting one.
Do we learn more about Anna? Yes, but just barely. The documentary never really went deep enough for the viewer to understand her. The film makes an attempt to make her seem more human than some aloof cult fashion dicatator, but the documentary never really gets under her skin.
Do we appreciate the huge number of staff and editors who put together this monthly fashion mag? Yes. It looks like hard work.
But in the end, it's really just fashion. It shouldn't be taken too seriously.
So unless you are avid Vogue reader and Anna follower, don't buy this dvd.
Movie Review: Doesn't dig deep enough
Summary: 3 Stars
The September Issue is a superficial look into the making of the September 2007 issue of Vogue. Many of the shots consist of various photographers, art directors and members of the editorial staff behaving in a groveling and subservient way around editor-in-chief Anna Wintour. The one exception is stylist Grace Coddington, a confident and gifted woman who does superb creative work and isn't afraid to stand up for herself. Her work really is the backbone of the magazine. Once she leaves, Vogue is on a fast ride downhill. Wintour's insights, as she looks at and discusses potential fashion spreads, seem fairly prosaic. She must have gotten the job by game-playing and the usual machinations of the business world. Outside of standing back somewhat and letting Coddington do her work, I don't see what she contributes to the magazine except for making her staff feel compulsively insecure.
I enjoyed the few scenes that show her with her twenty-something daughter, who wants to be a lawyer. She clearly has the ability to "get" to Wintour that no one else in the film does. Good for her. Wintour talks about her father and siblings, but neglects to mention her American mother, an interesting omission. Wintour is a lonely character, in a way. There's a revealing scene of her in the back of a town car clutching a Starbucks coffee and staring straight ahead. She's off in her own world most of the time.
As is to be expected, no one on the Vogue staff actually wears the outlandish clothing featured in the magazine. Wintour wears flattering silk dresses, Coddington dresses in various frumpy black outfits and the staff and photographers wear practical work clothes. The exception is Leon Talley, the only member of the staff who truly buys into the fashion myth. Since Wintour reveals so little of herself and the filmmaker is as deferential to her as the rest of her intimidated staff, ultimately "The September Issue" is an elegantly made film with no emotional heart.
Movie Review: amazon.com version is lacking....
Summary: 3 Stars
...something very important, and that is THE THIRD DISC.
I am not going to review the movie, but the DVD itself. The extra material is superb. It is fantastic actually, and these are for the true admirers of fashion and VOGUE. Could there be even more? Yeah, sure... They could have included the basic bios of the subjects, more pictures, VOGUE through ages, pivotal photos from the magazine archives, even more footage with the fashion designers and models etc. Still, over 90 minutes of extra material is just great.
But you know what is even greater than this version?
The THREE DISC VERSION that Barnes&Noble has to offer.
This elusive third disc in question includes a 25 minutes of footage from the preparation of the legendary Costume Institute Gala. It is just amazing. You get a lot of Anna here, and no Grace actually, however, you get to witness the MET event preparation including the decor, some peacocks, even Naomi Campbell, Cate Blanchett and Michael Bloomberg, and more of Anna being fashion's true 'Eminence Grise'. Her influence is immense, but this third disc truly proves how prominent she is, outside the high walls of VOGUE or the intimidating fashion shows. amazon.com version of the DVD doesn't include this third disc. I suppose the moviemakers and studio did cut a deal with B&N, for an even more special and exclusive release just for them.
I have learned about this edition and got excited. And I went to B&N today, and picked up my copy. It is more expensive than the 2 disc amazon edition -understandably- but so worth it, in my opinion.
Disc I:
Movie
Some extra materials
Production photos
Disc II:
Extra materials (with Anna Wintour, Grace Coddington, Andre Leon Talley, Thakoon etc.)
Disc III:
Footage from Costume Institute Gala preparation/red carpet
Movie Review: A (Rather Dull) Glimspe into American-VOGUE...
Summary: 3 Stars
... and perhaps a rather disappointing one, in that our "glimpse" is a rather "surface", shallow one. Although... it must be said that this is probably a must-see film for anyone even moderately interesed in fashion and/or publishing, given that Ms.Wintour has held the helm of this greatest fashion bible for twenty years; I, however, expected much more.
And, I am very surprised that none of the other Amamzon-folk mention that the fashionistas appearing in this movie wore some of the most questionable outfits imaginable... did they forget that the cameras were rolling???... did they not see TheDevilWearsPrada??? Even Ms.Wintour, herself, "graced" the screen with some ensembles created of at-odds combinations of seemingly mismatched separates; did she look in the mirror before leaving her house?
I expected someone more dynamic, a person larger than life... instead, we get a rather inward-looking and "still" beige woman, walking... at least figuratively, with shoulders-forward rather than with shoulders-back, and with a hairsytle needing to be re-thought so as to show her face; where was the fabulous-ness???, though one certainly must acknowledge these past twenty years at the VOGUE-helm... as well as her focused, assured intensity as she made SeptemberIssue-related decisions... in this, an industry taking no prisoners... she has survived and prevailed.
Well, at least Andre Leon Talley is always lots of fun!
Paging Ms.Diana Vreeland's FABULOUS RED!!!