Оригинальное название: Prêt-à-Porter Год выпуска: 1994 Жанр: комедия Хронометраж: 133 мин Производство: Miramax Films Сайт фильма: http://www.us.imdb.com/title/tt0110907/ Страна: США Режиссер: Роберт Олтмен / Robert Altman Актеры: - Софи Лорен / Sophia Loren ... Isabella de la Fontaine - Марчелло Мастроянни / Marcello Mastroianni ... Sergei | Sergio - Ким Бейсингер / Kim Basinger ... Kitty Potter - Джулия Робертс / Julia Roberts ... Anne Eisenhower - Тим Роббинс / Tim Robbins ... Joe Flynn - Шер / Cher ... играет саму себя - Жан-Поль Готье / Jean-Paul Gaultier ... Designer Featured with His Collection - Линда Евангелиста / Linda Evangelista ... играет саму себя - Бьoрк / Björk ... Model - Жан-Пьер Кассель / Jean-Pierre Cassel ... Olivier de la Fontaine - Стивен Ри / Stephen Rea ... Milo O'Brannigan - Руперт Эверет / Rupert Everett ... Jack Lowenthal - Росси де Пальма / Rossy de Palma ... Pilar - Лили Тейлор / Lili Taylor ... Fiona Ulrich - Форест Уитакер / Forest Whitaker ... Cy Bianco - Ричард Э. Грант / Richard E. Grant ... Cort Romney - Лорен Бэколл / Lauren Bacall ... Slim Chrysler - Линда Хант / Linda Hunt ... Regina Krumm - Жан Рошфор / Jean Rochefort ... Inspector Tantpis - Ева Сальвей / Ève Salvail ... играет саму себя - Джанфранко Ферре / Gianfranco Ferré ... играет самого себя - Наоми Кэмпбелл / Naomi Campbell ... играет саму себя - Клаудия Шиффер / Claudia Schiffer ... играет саму себя - Мишель Блан / Michel Blanc ... Inspector Forget - Франсуа Клюзе / François Cluzet ... Nina's Assistant Скачать Высокая мода >>> «The year's most seductive comedy!» Неделя высокой моды в Париже! Феерия страстей. На подиуме, а еще больше — вне его! В калейдоскопе звезд в безумии шныряют репортеры. Одна из них — настойчивая Китти Поттер. Ее задача — ничего не упустить. Здесь масса сплетен, недоразумений и интриг! Такие люди сразу в одном месте: актеры, модницы, миллионеры! Тусовщики и воротилы всех мастей. Вот беглый русский, вплавь добравшийся до места. Он у цели! Другим не так везет: Джо Флинн и Энн попали в передрягу, нескоро выберутся в свет. Неудивительно: в таком сумбуре теряешь честь и голову, достоинство и… вещи. Дань моде? До изнеможения! Се ля ви…

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Fashion as metaphor

Appreciating Altman's cinema requires patient and attentive viewing. The more films of Altman one sees, the more one appreciates this wonderful man and his unique ability to create witty, cinematic essays on subjects such as weddings ("A Wedding"), the music industry ("Nashville"), the movie industry ("The player"), soldiers/doctors during wars ("MASH") to name a few, all with his stock ensemble of actors who often return to play bit parts in his works. What amazes me is that these actors return to play anti-heroes, often doing roles that are real and often portraying the follies of human beings rather than larger-than-life characters in movies that the average film-goer may mistakenly dismiss as droll.

Is "Pret a porter" a film on the fashion industry? Look closely, and the film merely uses the fashion industry as a backdrop for painting a larger canvas of human foibles. For instance, the dog faeces in this film (just as bird droppings in Altman's "Brewster McCloud") provide humor, social commentary and linkages between scenes that would seem disjointed in Altman's deliberate attempts at jumping from one scene to another and back in the midst of a conversation that other directors would have preferred to run its course. There is a method in Altman's madness. "Pret a porter" while taking swipes at the fashion industry, is equally poking fun at journalists who send "live" reports on the phone sitting in hotel rooms and translating TV news, of the hotel industry who provide identical suites with different fancy names in the same hotel, of high flying journalists/executives who fuss on details of their hotel rooms in identical ways by just throwing their weight around and appear discerning, of TV commentators (Kim Bassinger's character) who know very little of the subject they specialize in, etc. It is also a film that provides humor to the attentive viewer: "The murderer must have died from jumping in to the Seine. If he survived the jump, the pollution would have killed him" or the lengthy conversation on the pouffe skirts, which ends in "Are you pouffe?" The Julia Roberts-Tim Robbins sequences provide social commentary on contemporary love that goes beyond the world of fashion, as a counterpoint to the parallel sequence of Mastroanni and Loren as lovers of a past generation.

Though Altman has made better movies ("McCabe and Mrs Miller", " A wedding" and "Nashville"), this one is not an insignificant work. Linda Hunt, Tim Robbins, Julia Roberts may be playing roles of frail, pathetic personalities but they play those roles with sincerity and flourish. In my view, the film uses fashion as a metaphor. Using neckties to identify strangers, using clothes to make a social statement, photographing clothes/shoes of a murderer than his face, give more insight on people affected by fashion than the fashion industry. It requires more than one viewing--and definitely more if you viewed an edited for TV version, with 13-18 minutes lopped off, as I did!