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Ready to Wear Review

You either like this movie, or you hate it.

Personally, I enjoy it - Robert Altman can do good satire, and this is a good one. Sure, you'll probably have to watch it several times (and possibly even do some studying) in order to get all the various jokes and scathing comments about the fashion world and about Paris... but it's fun.

There's a lot of serious talent in this film - Marcello Mastroianni, Sophia Loren, Kim Basinger, Stephen Rea, Rupert Everett, Forest Whitaker, Julia Roberts, Tim Robbins, Lauren Bacall... the list goes on.

While it seems to be primarily a murder mystery set in the world of high fashion, it is a lovely satire on the industry itself, and what people find acceptable. The end sequence with the "emperor's new clothes" fashion show is highly enjoyable in itself - not just because of the nudity, but because of what it says about the fashion industry. Watching Basinger's character melt down on camera is interesting and quite enjoyable... and was one of the inspirations for The Devil Wears Prada (Widescreen Edition).

This movie isn't for everyone - you require a sense of humor and a good grasp of satire. But Robert Altman has pulled off another sleight of hand with this.

Ready to Wear Overview

A glittering Hollywood all-star cast shines in Robert Altman's deliciously sexy comedy hit READY TO WEAR! At the world's hottest fashion show, there's been a murder. Now, everybody's a suspect -- including two guests who end up sharing much more than a hotel room! Add to the fun a hilariously inept TV reporter on the trail of her most shocking interview yet! They're all caught up in the year's biggest see-and-be-seen events -- where steamy scandals and spectacular supermodels turn up the heat in a riotous show of high-fashion hilarity.

Ready to Wear Specifications

Robert Altman's much-anticipated broadside at the world of fashion is a disappointment. The film's crazy-quilt Nashville-like narrative structure and ensemble casting (Julia Roberts, Tim Robbins, Lauren Bacall, Marcello Mastroianni, Sophia Loren) are a thing to behold, but the story's many interlocking pieces lack overall depth and resonating emotion. There is a grand, satiric statement about fashion and society at the end of the film, and there are hints of an aging, nostalgic filmmaker's skepticism about our postmodern world of short-lived attachments and meanings. But watching this film is a long, long uphill climb, with a lot of thin air to endure before arriving at a destination. --Tom Keogh

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