The Battle of the 2001 Fashion Industry Parodies was a Race into the Darkness of the Human Soul

April’s​ Movie of the Month, the Mark Waters comedy Head Over Heels, is many disparate films tied up in a single package. At times a formulaic romcom, a Farrelly brothers-style gross-out comedy, a diamond heist action thriller, and a winking Hitchcock homage, this Freddie Prinze Jr./Monica Potter madcap romance is largely a fun watch due to its violent, unexpected shifts in genre & tone. At its core, however, Head Over Heels can be readily understood as a light-headed satire of the fashion industry. Constantly poking fun at Monica Potter’s befuddled lead’s supermodel roomates, borrowing some of their second-hand glamor for its central romance fantasy, and staging its climactic showdown on a Fashion Week runway, Head Over Heels is a silly, parodic stab at couture culture. It was not alone in its year of release, either. The similarly silly, but much more popular Ben Stiller comedy Zoolander also arrived in 2001, with its own jokes about fashion models’ supposed stupidity and its own climactic runway-set showdown. Head Over Heels & Zoolander share more than just their deliriously silly fashion world parody too. They also undercut the frivolity that drives their central fashion world gags with some truly depressive, cruel lines of pitch black humor, diving much deeper into the darkness of the human soul than you might expect from a Freddie Prinze Jr. romcom and a ZAZ-style comedy that proudly features a Fabio cameo.

Fashion models seem to lead surreal, absurd, almost inhuman lives. Zoolander & Head Over Heels build their humor around that perception. They introduce a “normal” person (movie-normal anyway; one’s an art-restorer and one’s a photo-journalist for TIME Magazine) into the otherworldly realm of superhuman fashion models, or in Zoolander‘s parlance “people who are really, really, ridiculously good-looking,” to play off that eccentricity. Part of the humor they find there is in jealousy: lavish parties, beautiful clothes, a total lack of sexual inhibition, etc. are overwhelming to the two films’ non-model normies and both movies have a lot of fun indoctrinating them into this culture, which appears to be a live action cartoon from the outside looking in. To take the models down a peg, then, they also poke fun at the two things typically associated with people who are really, really, ridiculously good-looking: low intelligence & eating disorders. Zoolander is a lot harsher on both of those topics than Head Over Heels. The Mark Waters film is a lot more humanizing in its portrayal of its star’s supermodel roomates, who are eventually proven to be a lot more cunning & self-aware than any of their foils give them credit for. I don’t really see the point in diving into the particulars of either films’ jabs at bulimia or stupidity, though, since it’s the easiest, most common sources of humor you’d expect from any fashion world comedy. What interests me, and I think what makes these films memorable, are the more unconventional places they find their dark humor, the real weirdo shit.

At its core, Head Over Heels is a much sweeter movie than Zoolander, with more of a sincere focus on its milquetoast woman/fashion world weirdo romance. That doesn’t mean it doesn’t indulge in its own forms of pitch black humor. The reason our generic romcom lead puts herself on the market for a new man at the beginning of the film is that her old biddy coworkers keep announcing, plainly, “You are going to die alone.” She then has her “meet cute” moment with Freddie Prinze Jr.’s hotshot fashion exec when the dog he’s walking tackles & mounts her in the lobby of their apartment building, which is a special kind of brutally embarrassing public humiliation for a cutesy romcom. The movie later indulges in other similar raunchy comedy moments, like a stray cunnilingus gag or an epic scene where the leads’ fashion model roomates are covered head to toe in human feces. What’s even darker is that the movie’s entire romcom plot is built on a Rear Window moment where the lead witnesses the fashion exec hunk “murder” someone through his apartment window, but romantically pursues him anyway, because of their overwhelming sexual chemistry. This includes a scene where she bangs the possible murderer before he’s convincingly absolved of the crime, an act her roommates gleefully watch through the window as if it were a plot point on a daytime soap. Sometimes these models’ lack of sexual inhibition is played for light laughs, like in an early scene when they aggressively catwalk nude through their apartment’s shared living space. Sometimes it gets much darker, though, like when the Russian-born model casually accuses a Girl Scouts troupe of being a childhood prostitution ring or when the Australian-born model (who has a crippling addiction to plastic surgery) constantly makes casual references to being molested by her uncle as a child, which is played for laughs. For all of its indulgences in cutesy romcom tropes, Head Over Heels can be a deeply strange, deeply fucked up comedy.

Much like how Head Over Heels builds its madcap romantic mixup around a possible cold-blooded murder, Zoolander finds its humorous A-plot in a conspiracy to assassinate the prime minister of Malaysia so that child labor laws will relax enough in that country for fashion clothing production to pinch a few pennies. That’s pretty fucked. Its dark soul wasn’t lost on critics at the time of its release either. Ebert famously wrote in his post-9/11 review of the film, “There have been articles lately asking why the United States is so hated in some parts of the world. As this week’s Exhibit A from Hollywood, I offer Zoolander, a comedy about a plot to assassinate the prime minister of Malaysia because of his opposition to child labor.” Besides that boldly crass plot line (which does have a pointedly satirical jab at fashion as an industry built into its DNA) and its much harsher stance on models being oversexed, anorexic idiots than the one taken in Head Over Heels, Zoolander ups the stakes of its dark humor by actually claiming a few human casualties. While the witnessed “murder” of Head Over Heels turns out to have been faked, one of Zoolander‘s first big gags (and easily the one that got the biggest laugh out of me as a teen at the theater) involves four of its idiotic lead’s closest male model friends perishing in a gas station explosion. It’s the kind of gag that you’d expect to see in the icily funny mockumentary Drop Dead Gorgeous, where the punchline is a smash cut to a funeral service. Later in the film, the fashion industry is again skewered when Ben Stiller’s male model lead participates in a runway show that exploits/appropriates the tattered rags of the world’s “crack whores” & homeless for a marketable fashion aesthetic. And the darkest joke of all is that the film’s very first celebrity cameo (one of thousands) is none other than Donald J. Trump. Yikes.

As harsh as the humor can be in both of these movies, they’re still largely absurd, silly, light-hearted films. In both Head Over Heels & Zoolander, initial competitive jealousies in an industry where vanity is everything eventually give way to heartfelt camaraderie. Initial unease with the fashion world’s liberated, uninhibited sexuality eventually leads to sexual & romantic satisfaction. Models considered to be useless idiots at the outset save the day & prove their worth as human beings. Still, there’s a dark soul lurking at the center of both Head Over Heels & Zoolander, a black comedy undercurrent that occasionally cuts through the deliriously silly fashion world parody to laugh in the face of betrayal, death, bulimia, child abuse, etc. 2001 not only saw the release of two energetically silly fashion world comedies; it also brought out a surprisingly corrosive spirit in each of them that can disrupt & subvert the cheeriness of their shared mainstream comedy surface. Both movies were better & more memorable for it.

For more on April’s Movie of the Month, the Mark Waters fashion world romcom Head Over Heels, check out our Swampchat discussion of the film.

-Brandon Ledet

Movie of the Month: Head Over Heels (2001)

Every month one of us makes the rest of the crew watch a movie they’ve never seen before & we discuss it afterwards. This month Boomer made Alli, Britnee , and Brandon watch Head Over Heels (2001).

Boomer: Let’s get this out of the way right off the bat: Head Over Heels is not a good movie. Objectively, it’s actually kind of awful. It’s a nineties holdover of a specific kind of romantic comedy that paid for Meg Ryan’s house and every meal she will eat for the rest of her life. There’s a silly voice-over at the beginning about growing up in [small Midwest location] but now the protagonist lives in [major metropolitan city] with [impossibly perfect job], but gosh darn it she’s just so unlucky in love! It’s so dumb, and I love it so, so much.

I already wrote a more complete recap of the film’s plot in my review of it so I won’t go overlong with the details here, but I’d stand by my assessment of it as “Two parts standard turn of the century romcom, one part Rear Window, with just a dash of genderbent Zoolander.” Future Mean Girls helmer Mark Waters directs Monica Potter as Amanda Pierce, an art restoration expert who moves in with four supermodels after catching her fiancé in bed with another woman. With the encouragement of her newfound group of unlikely friends, Amanda reluctantly begins to open her heart to handsome neighbor Jim Winston (Freddie Prinze Jr.), upon whom the women spy through his windows. He seems perfect, until Amanda alone sees him murder a woman. Or does he?

Britnee, what did you think of the relationships between the women in this movie? The film just barely passes the Bechdel Test (when the models talk about fashion and trading clothing), but that’s not a make-or-break barometer, really. I feel like the representation of non-traditional female friendships and the presentation of the supermodels as being vain and vaguely self-centered but also powerful and accepting of their new friend was fresh, especially for 2001. What do you think?

Britnee: First off, I just have to say that I absolutely loved Head Over Heels. It has that late 1990’s vibe that I am totally addicted to (Romy and Michelle’s High School ReunionJawbreakerShe’s All That, etc.), even though the film was released in 2001. What can I say, brightly colored mismatched clothes, frosty lipstick, hair chopsticks, chunky heels, and halter tops get me jazzed. To top it all off, the movie stars Freddie Prinze Jr.! He’s such a great actor for those terrible-yet-addictive types of movies, so what a perfect choice for the lead guy in Head Over Heels. It’s a shame that he doesn’t really act anymore. If I’m not mistaken, I remember him becoming involved with WWE after he stepped away from acting, but the latest I’ve heard of Prinze is that he wrote a cookbook (with a forward by Sarah Michelle Gellar). I haven’t tried any of the recipes, but I hope that he makes references to his films in them (Spaghetti à la House of Yes).

To answer your question, Mark, I loved the relationships between the film’s female characters. Amanda’s friendship with the models and Lisa (her hilarious lesbian coworker) really shows that sisterhood comes in many forms, some more unique than others. In the beginning of the film, Amanda is harassed about not being married by her elderly coworkers, and I get it, being single wasn’t seen as an option during their youth, but it was still annoying to listen to their comments. Once she moves in with the models, they didn’t seem to be interested in her other than the $500 per month she was going to pay to live in a closet to fund their spending habits. I couldn’t help but assume that they were going to be a portrayed as the stereotypical self-absorbed group of air-headed models that were total mean girls, but thankfully, things didn’t go in that direction. The models, although very self-absorbed, did care about Amanda. They saw that she was interested (more like obsessed) with Jim, and they helped her score a date with him. Unfortunately, they covered her in makeup and dressed her up to their liking, making her look nothing like herself, but they were truly doing what they thought was best. And during Amanda’s quest to find out whether or not Jim was a murderer, they helped her break into his apartment to look for clues. They even endured Jim’s very intense poop and an absolutely disgusting septic tank shower in a public men’s room to get information for Amanda. If that’s not friendship, I don’t know what is.

What surprised me the most out of all the insanity in Head Over Heels was the incorporation of a murder mystery. I definitely didn’t see it coming, and I just about flew off my chair when Jim “murdered” Megan in his apartment. I sort of wish that Jim would’ve actually committed the murder and was part of a Russian mob or something like that because it would’ve made for a more interesting ending. Alli, what are your thoughts on the idea of Jim being an actual murderer? Or were you satisfied with him being an undercover agent?

Alli: I, too, actually kind of wish he was an actual murderer. The contrast between the bubble gum 90’s romcom aesthetic and a grim serial killer story really could have saved this movie for me. If Amanda had actually had a bad case of Hybristophilia (a crime fetish; I just looked up this word in case anyone was getting worried about me), I think the dark turn could have made for an extremely interesting and unique twist. Imagine her going to all this trouble and Rear Window-esque voyeurism to find out he actually did, only for her to realize that she doesn’t care and still loves him anyway. I thought the whole undercover agent thing was tacked on and sloppy. I understand that we’re supposed to be rooting for Amanda and want her to finally fall in love with Mr. Right, but it just seemed like a forced way to have a happy ending. It did make it possible to have that bizarre fashion show chase scene, though.

Fashion is an interesting part of this movie. The four models are dressed in perfect representation of current fashion for 2001, fashion that is now extremely dated. It seemed like, though, Head Over Heels was already acknowledging how ridiculous this all is. In the scene where the four models give Amanda a makeover, she knows it’s ridiculous. Her crush, Jim, knows it’s ridiculous.

Rather than a love letter to the fashion of the times, this movie strikes me more as a subtle satire. There’s vapid models constantly getting pointless plastic surgery done, who only care about rich men so they can continue a comfortable lifestyle (though, they do have a certain amount of Girl Power and protective instinct when it comes to Amanda), and there’s the fashion show gone wrong, but the press thinks it’s intentional. Brandon, what do you think about fashion in this film?  Do you see this movie as a satire of the industry?

Brandon: It’s clearly satire, but I think there’s a pretty distinct difference between the way this film handles its fashion industry parody and how that same attitude is executed in meaner, more pointed works of the era like Zoolander & Josie and the Pussycats. When we first encounter Amanda’s fashion model roomates, Head Over Heels clearly sets up a dichotomy between our protagonist’s supposedly more worthwhile career in fine art academia and the mindless frivolity of fashionista trend chasing. Unlike with Zoolander, however, the fashion industry and the perceived stupidity of fashion models eventually fades as a punchline and we start to see the value of their lifestyle. One of the roomates is a cunning academic who put her education on hold to take advantage of what a young, beautiful body can (temporarily) afford her. Casual nudity, aggressive catwalking, uninhibited attitudes toward sex, and blatant financial negotiations with men who want to be seen in public with them all afford these women a certain confidence & power that Amanda’s missing out on as a meek, academic shut-in. Waters (who is no stranger to dark humor in projects like Mean Girls and House of Yes) will sometimes undercut their power with somewhat tragic jokes about incest, child prostitution, and routine plastic surgery, but his script makes it clear that these are worthwhile, intelligent people who improve Amanda’s life with their specific skill set & collective life experience. There’s plenty of stray jabs aimed at the basic absurdity of fashion modeling as a profession, but the models themselves aren’t portrayed as nearly as cruel or idiotic as the people who look down on them merely for being models (especially the reoccurring police officer who won’t take their legitimate cries for help seriously until after they’re vindicated by his higher-ups).

One thing I love about the film that the modeling industry opens up to it is the incessant runway music. Gay 90s club music is just as omnipresent here as it is in the SNL comedy A Night at the Roxbury, which feels like a deliberate choice, given that this film would’ve been released a few years after the heyday of acts like La Bouche and Real McCoy. From the A*Teens’ aggressively bubbly cover of ABBA’s “Take a Chance on Me” in the make-over montage to the film’s wordless, repetitive Gay 90s theme music to the choice to include The Go-Go’s titular hit song “Head Over Heels” instead of the more obvious (and more romantic) Tears for Fears option, there’s a very specific soundtrack direction to Head Over Heels that keeps it away from the detached cynicism of Zoolander and moves it toward the absurdist fantasy of films like Spice World & Teen Witch. As Head Over Heels shifts its genre gears from romcom to Farrelly brothers-style gross-out to murder mystery to action comedy, the 90s style club music remains its only real constant, a consistent runway beat that feels just as important to the fashion world setting as the actual on-the-runway debacle of its Fashion Week conclusion.

Boomer, did you at all notice the soundtrack while watching Head Over Heels or did it just feel like typical romcom tunage to you? Is the film’s 90s-hangover club music significant to its fashion world aesthetic or am I allowing my love of acts like Deee-Lite & Snap! to make it appear to be more than it is?

Boomer: I love this question, because I’ve held a longtime fascination with films that are named for song titles. Until the 1980s, most movies that followed this naming convention were about music and starred musicians: White Christmas (1954) starring Bing Crosby, Rock Around the Clock (1956) starring Bill Haley and the Comets and The Platters among others, and I Wanna Hold Your Hand (1978) starring future Mrs. Brian De Palma Nancy Allen and focusing on four girls going to see The Beatles. Starting with John Hughes’s 1984 film Sixteen Candles, there was a boom of more romantic films taking their titles from classic love songs and contemporary pop music. Candles was followed by Girls Just Wanna Have Fun (1985), Pretty in Pink (1986), Some Kind of Wonderful, Roxanne, and Can’t Buy Me Love (all 1987), My Girl (1991), Love Potion No. 9 (1992), When a Man Loves a Woman (1994), One Fine Day (1996), Can’t Hardly Wait (1998), Simply Irresistible (1999)Of course, the veritable apotheosis of this concept was 1990’s Pretty Woman.

This conceit started to die out around the time that Head Over Heels was released (give or take a Sweet Home Alabama here and there), but I have to admit that, minus the cover of “Take a Chance on Me,” and the inclusion of the title song, none of the music in the film stood out to me all that much. That’s odd, considering how often I find myself consciously dissecting a film’s score while watching, sometimes to my own annoyance (while at a recent screening of A Tale of Two Sisters, every time the piercing, intense strings started playing, I found myself daydreaming about Psycho). Maybe the overall generic nature of the (accurately described) “gay 90s club music” is what makes the film flow with such grace. It fits well enough that it’s beneath notice, which is a compliment, even if it doesn’t seem like it.

When I hear the phrase “head over heels,” I too first think of Tears for Fears, but looking at the lyrics of the Go-Go’s “Head Over Heels,” it’s apparent why this is the title song and not the more famous new wave track. The song includes lines like “I couldn’t see the warning signs/I must be losin’ it/Cause my mind plays tricks on me,” which is much more in line with Amanda’s state of mind than poetical waxing about talking about the weather, wasting time, or being lost in admiration. It’s more consistent with the film’s thesis of a woman who has been fooled too many times but still finds herself smitten with a handsome stranger against her better judgment, although I can almost hear her say “don’t take my heart, don’t break my heart/Don’t, don’t, don’t throw it away” (presumably while sitting on the stairs outside a dreamboat’s apartment while he explains that his work persona is a facade).

To be honest, a part of me wishes that this was less of a romcom and more about an art restorer who gets into international shenanigans with the help of her fashion model roommates. Britnee, what do you think of the espionage plot? I agree with Alli that it feels tacked on and sloppy, and I wish the intrigue of smuggled diamonds had played a larger role in the overall narrative. Do you feel the same way? What changes would you make to the screenplay if you had the chance?

Britnee: I agree that the whole secret agent twist was sloppily thrown in. To be honest, I was waiting for another plot twist to happen about 5 minutes to the end of the movie where Jim reveals himself as a murderer disguised as a federal agent who was pretending to be a murderer. Anything would have been better than the overused agent-in-disguise cop out. I get it, Amanda and Jim needed to end up together, and this was written in the script so the two love birds could have their “happily ever after.” It just felt so lazy. Thankfully, there were many other interesting events that made up for it.

Like Mark, I too would like to see the film focus more on Amanda’s career as an art restorer because that has to be one of the coolest jobs on the planet. If I could make changes to the screenplay, I would definitely make the film more of a fantasy romcom that would focus on Amanda’s art restoration skills. Amanda receives a renaissance painting in desperate need of restoration, and as she starts to restore the faces on each person in the painting, they come to life. Sort of like the street art in the movie Xanadu. The characters from her paintings are confused about the time period change, and she has to bring them home with her until she can figure out a way to get them back to their world. When Amanda leaves the medieval folk at her apartment while she attempts to research the mysterious painting, her model roommates give them makeovers and take them out clubbing. Amanda would end up falling in love with one of the painting characters and in the end, she would chose to go back with them to their time period as she doesn’t feel like she fits in with early 2000s city life. Also, I would make sure that my version of Head Over Heels would be a bit slower than the original so the audience could have time to catch their breath and comprehend what’s going on.

Alli, did you feel as though the pace of Head Over Heels was extremely fast? The moment the film begins, Amanda’s voice immediately started to describe her upbringing, and everything was moving at 100 mph from that moment on.

Alli: I did think the pace of the movie was pretty strange actually. I felt like it breezed over interesting and important things and then spent too much time on others. Like you said, there’s barely any time spent on her career, even though it’s made out to be a minor plot point eventually, but we get to see a bunch of Freddy Prince Jr. doing chin-ups. I think part of it was that there was so much stuff going on in this movie, too much even. There wasn’t enough time to make a well paced film, because there was just a lot. It’s the sort of movie that makes you think, “less is definitely more.”

I think I would have cut out the jewel heist, and made it an art related plot. The diamonds just felt thrown in there. I know it was a good vehicle for the runway sequence, though. I think it would have also helped to have the big undercover agent reveal earlier on if we’re forced to go that route, instead of Amanda investigating this murder forever. Another thing that could go is the voiceover. We can see she’s in New York. We can see that she’s unlucky in love, but has a dream job. Maybe, I’m just being a hardline film snob here, but the voiceover felt completely unnecessary.

Brandon, are there any details you find unnecessary? Am I being too hard on the voiceover?

Brandon: “So dumb,” “sloppy,” “extremely dated,” “lazy,” “not a good movie,” “actually kind of awful;” I’m being a little unfair with the pull-quotes I’m cherry picking here, but it is funny how willing we are to tear this movie down even though we seemed to have a lot of fun watching it (excluding maybe Alli). The problem there might be that the romcom fantasy is so inherently frivolous as a genre that it can’t support this kind of roundtable critical discussion without the conversation devolving into nitpicking. I don’t often excuse the use of voiceover as an easy narrative tool, but removing it from Head Over Heels would be like asking a Batman movie to skip its suiting-up montage or a slasher film to cast geriatric actors instead of hot, horny teens. Without its voiceover narration, Head Over Heels would likely be a struggle to follow as an audience, given the film’s whiplash-inducing pace & shifts in tone. More importantly, though, it would remove one of the earliest & most consistent markers that this is an exercise in romcom genre filmmaking, with all the deliriously silly bells & whistles the format implies. The voiceover is just as much a part of the territory to me as the film’s dogwalking meet cute, its Big Misunderstanding romantic mixup, or its pretty-but-not-too-pretty lead (Monica Potter looks like she was built in a lab by combining Sandra Bullock & Julia Roberts DNA into a cute, but “approachable” hybrid).

What’s most fun about Head Over Heels is how it uses this familiarity with romcom tropes to allow the film to continuously shift gears from minute to minute in terms of content & tone. The clash of Zoolander-style fashion world parody with Hitchcock homage thriller beats, diamond heist action comedy, and scatological Farrelly brothers humor amounts to a disorienting, absurdist whirlwind that in any other situation might feel like an untethered mess, but there’s always the familiar romcom structure about a clumsy academic-type with “the worst taste in men” waiting to anchor the story to something that can easily be processed & understood. I believe that method of anchoring the film was an entirely intentional decision on Waters’s part, one that allows for a lot of the film’s more absurd tangents to creep in (like its crossdressing security guard or its unexpectedly raunchy cunnilingus joke), while still making for one of the most memorable romcom plots of all time. In terms of pure absurdity, it’s right up there with Brittany Murphy learning to make a magical bowl of ramen in Ramen Girl or Aubrey Plaza falling for a delusional “time traveler” in Safety Not Guaranteed or whatever the hell’s going on in former Movie of the Month entry My Demon Lover. I’m not saying that Head Over Heels is beyond critical nitpicking because of the genre territory it willfully chooses to occupy, but I just don’t have the heart to tear it down myself. I had too much fun going to the one million and ten places the movie took me in just 90 minutes to sour on the trope-reliant methods it needed to exploit to get me there.

Lagniappe

Britnee: Candi, the Australian model, was my favorite character. Her quirky personality and constant plastic surgery procedures added a lot of humor to Head Over Heels. However, I could have done without all the creepy Uncle Pete comments. Those just made me feel super uncomfortable.

Alli: I was really not expecting the amount of poop jokes. Poop jokes are fine and all, but it just didn’t work for me. The one in the bathroom stall is nauseating even.

Brandon: It’s funny to me that everyone’s drawing a line here as to where specific gags of crude, gross-out humor didn’t work for them. While I was a little more willing to follow Head Over Heels into its nasty child abuse humor and grotesque scatological visuals than Britnee or Alli (if not solely because they were such an absurd intrusion on the typically tamer romcom reverie at the film’s center), I also had a moment where the movie pushed me a little too far: the film’s plot-instigating meet cute. Freddie Prinze Jr. is introduced walking a friend’s dog (a Great Dane named Hamlet, heh heh) that knocks over and sexually mounts our poor down-on-her-luck protagonist. My shock at this most undignified public degradation might be a result of it arriving long before any of the film’s other gross-out gags. It was still shockingly cruel either way, a moment that’s even repeated to bring the chaotic plot around full-circle in a strangely sadistic way. Although I was taken aback by the film’s bestial meet cute cruelty, however, I still ultimately respect that it could have that kind of effect on me at all. It’s not often that a traditional romcom can surprise its audience that sharply and it’s only one of many examples of Head Over Heels continually pulling the rug.

Boomer: I think that some of the aberrant elements of the screenplay were an attempt to appeal to too many people: eye-candy in the form of FPJ doing pull-ups and lady models strutting about in various states of undress to suit whatever your tastes may be; scat humor and an action plot to serve as a more stereotypically masculine counterweight to the trappings of the “chick flick” formula (i.e., makeovers and girlie talk); a little bit of gay panic with Amanda and her overly-touchy friend but also a celebration of queerness in the form of Bob’s landlord. It’s probably not the only reason this film was a commercial failure and is relegated to late-night programming on USA, but it certainly doesn’t help. Hopefully I’ll be able to pick a movie that Alli likes next time.

Upcoming Movies of the Month
May: Alli presents Mikey and Nicky (1976)
June: Brandon presents Cool As Ice (1991)
July: Britnee presents Something Wicked this Way Comes (1983)

-The Swampflix Crew

Prêt-à-Porter (1994)

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Robert Altman’s follow-up to the surprisingly potent (and far superior) Short Cuts, Prêt-à-Porter (Ready to Wear), applies the director’s casual, large-ensemble aesthetic to the colorful backdrop of Paris Fashion Week. Altman’s typically nonjudgmental tone is somewhat absent here as characters frequently devolve into the kind of self-parody you’d expect in a Christopher Guest mockumentary, but they’re more or less charming all the same. Prêt-à-Porter is a loose, amused take on the fashion industry that tries to succeed less on having something to say and more on having someone interesting say it.

In true Altman form, the cast is stacked: Sophia Loren, Kim Basinger, Forrest Whitaker, Rupert Everett, Julia Roberts, Lauren Bacall, Tim Robbins, Lyle Lovett, Tracey Ullman, Cher, Naomi Campbell, Teri Garr, and Harry Belafonte all participate in some capacity. By filming during Paris Fashion Week, Altman achieves an even larger ensemble cast of familiar faces than usual, which unfortunately may be the film’s greatest accomplishment. I was drawn to Prêt-à-Porter when I read that even Björk had a brief cameo as a runway model. “Brief” is even a generous word for it, as she merely passes across the screen in her Mother Nature Incarnate mode, the (real life) fashion line she’s modeling having something to do with snow & wilderness. The themes of different fashion lines are a consistent source of amusement for the film as they each intensely focus on a singular, seemingly empty idea: boots, subway cars, Scotland, etc. An American news reporter with a Southern accent works as an audience surrogate as she politely navigates the vapidity of each runway show. One campaign simply marketing nudity, the complete absence of fashion, finally prompts her “I’m mad as hell and I’m not going to take this anymore” Network moment & she storms off.

Prêt-à-Porter occupies a strange space between light ribbing and outright mockery. Parts of it feel like Altman’s fashion world version of Guest’s Best in Show, but it never completely tips in that direction. Other parts feel like an undercooked version of the everything-is-connected story Altman had told many times before in much better films. A couple hours loafing along with this impressive assortment of celebrities is not a particularly bad way to spend your time, especially if you have severe 90s nostalgia or an intense interest in the fashion industry, but it could’ve been a much better film if it pushed itself a little harder in any specific direction.

Prêt-à-Porter is currently streaming on Netflix.

-Brandon Ledet