A Feminist’s Heroine: Miranda Priestly in The Devil Wears Prada
So, last night I re-watched one of my favourite movies, The Devil Wears Prada. Oscar-winning actress, Meryl Streep, plays the lead role in the 2006 film. She plays the role of Miranda Priestly, the head of the successful, Runway Magazine.
I think there’s much that can be said about Miranda. She’s made out to be the type of person who’s easy to hate. So much seem to be “wrong” with her. But from the perspective of a feminist, she could be seen quite differently.
At first glance, Miranda comes off as a typical exacting, intransigent and detestable boss who clings tightly to an absolutist running of her business. This type of reading of her character seems consistent with a fragile, patriarchal perspective that feels threatened with a woman atop a corporate business organization. But for some feminists, Miranda’s characterization makes her a heroine worthy of exaltation. Her character provides a staunch exhortation to women that in order to rid themselves of patriarchal suppression, they must hold steadfast to their purpose and be independent.
Her eschewing of the antiquated image of the homemaker idyll is something that would likely to be extolled by feminists.
Miranda has made much sacrifice in order to mother a successful business. She’s had several divorces but never once allowed herself to become the damsel in distress; waiting for mighty male saviour to rescue her. It is often the case that her husband finds her power and success inimical to his male dominance and often feels marginalized. She shows no regard for trifling matters of the fragile male ego and this often puts her in conflict with the male reader. She is able to run a globally successful fashion magazine while functioning independently as a single parent.
While it may seem that fashion is an industry overrun by females, it is usually men who hold positions of leadership; systematically excluding their female counterparts from this circle.
Miranda has to combat unceasing antagonism from her male co-workers who are discomforted by position. Her position as boss is symbolic and significant. It upends the hegemonic influence of men at the head of business organizations. Miranda’s assertiveness represents a shift from the male chauvinistic label that women are the “fairer sex”. In the video below you’ll get an indication that Miranda’s co-workers find her anything but “fair”.
Quite stern they find Miranda! And this is the type of re-ordering of the female image that is espoused by feminists.
Miranda’s unflappable courage and determination are laudable. Her character represents a sharp departure from the patriarchal conceptualization of the female character as impuissant and passive.
She refuses to submit to these archaic and limiting notions of womanhood and femininity.
Miranda shouldn’t be seen as the uncompromising dictator but as representative of the kind of austere and sturdy mettle women must possess in order to achieve equality to their male counterparts — at least most times.
In The Devil Wears Prada, she’s the antidote that remedies the inequitable tradition of female subjugation under the dominion of men. She is a symbol of female fortitude that causes a catastrophic disruption of the farcically perceived male superiority.
She’s far from the despicable villain most male readers play her out to be. If ever she is to be considered a villain, it is that she’s a villain to a patriarchal society that has oppressed women for centuries.
That’s how I’d see Miranda Priestly from the lens of a feminist. If you’ve seen The Devil Wears Prada, let me know what you think about Miranda Priestly’s character.
