The devil wears Primark: is the romcom reporter about to get the sack?

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Glamour? Money? Hope? They’re so last season. With fashion magazines on their knees, where does that leave The Devil Wears Prada 2 – and its famously relatable heroine? Runway magazine is collapsing. Miranda is eating in the cafeteria and flying economy. Andy is the new features editor. Emily is dating a billionaire. Somebody dies. Amelia Dimoldenberg makes a cameo. But the one unexpected detail in The Devil Wears Prada 2 that I can’t stop thinking about is this: Andy worries that she’ll never be in a position to unfreeze her eggs. “Left New York for 15 years, not married – never found the right person, and my kids are at a doctor’s office on 85th,” she breezily reports to Emily when they reunite after 20 years. “They’re eggs,” she clarifies, adding that she is excited to have children. And in that moment, I couldn’t help but wonder: was the woman who once had the job “a million girls would kill for” always this relatable? Continue reading... from Film | The Guardian https://ift.tt/...
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Donald Sutherland was an irreplaceable aristocrat of cinema

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The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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