Too bad, or perhaps not, Anna's story pales in comparison to Grace Coddington's, Vogue's chief editor. She emerged most beautifully as the central figure in this story of the creative process and production of the huge September issue, and in subtext the history of Vogue's place in the fashion industry. With long red hair, stunning beauty, now "of a certain age" ala Bonnie Raitt, she was a totally compelling figure with wit, pathos, creative depth and breadth, warmth (in a sea of cold), and passionate commitment to the art of the photo shoot. Her stamp is all over whatever Vogue's creative hallmark was and is.
Meryl is completely fascinating to behold in this movie. Her combination of range, depth, genre, dramatic style, work ethic, sense of humor, artistic courage, and pitch-perfect character portrayals is simply a gift of the highest order to fellow actors, directors, critics, and film lovers for all time. Have some fun: watch all her films starting from the beginning. You'll be blown away.
I found myself wishing that there had been more scenes in France and fewer in Queens. Julie is well-done, funny and grounding, and the dual stories add to the enjoyment, but ultimately can't match the compelling life and personality of Julia Child, or the magic of watching Maryl, so we come away wishing for more.
Insightful, nuanced and surprisingly somewhat sympathetic portrayal of Bush's family history and political downfall.
Not the super best movie the the world, but very intriguing well acted. Everyone should see it. Richard Dryfus as Cheney is worth the ticket price alone.