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Ready to Wear (1994)
"Prêt-à-Porter" (original title)

 -  Comedy | Drama  -  25 December 1994 (USA)
5.0
Your rating:
    1 2 3 4 5 6 7 8 9 10 -/10 X  
Ratings: 5.0/10 from 11,488 users   Metascore: 48/100
Reviews: 52 user | 22 critic | 21 from Metacritic.com

A chronicle of the interconnected lives of a group of people in the lead up to Paris Fashion Week.

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Title: Ready to Wear (1994)

Ready to Wear (1994) on IMDb 5/10

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Nominated for 2 Golden Globes. Another 2 wins. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
Olivier de la Fontaine
...
...
Sophie Choiset
...
Milo O'Brannigan
...
Simone Lowenthal (as Anouk Aimee)
...
Jack Lowenthal
...
Pilar (as Rossy De Palma)
Tara Leon ...
Kiki Simpson
...
Dane Simpson
...
Fiona Ulrich
Ute Lemper ...
Albertine
...
Cy Bianco
Tom Novembre ...
Reggie
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Storyline

A fashion show in Paris draws the usual bunch of people; designers, reporters, models, magazine editors, photographers. Lots of unconnected stories which all revolve around this show, and an all-star cast. Written by Rob Hartill

Plot Summary | Plot Synopsis

Taglines:

At the world's hottest fashion show, there's been a murder and now everyone's a suspect. If you've got something to hide, you'll need something to wear. See more »

Genres:

Comedy | Drama

Motion Picture Rating (MPAA)

Rated R for language and nudity | See all certifications »
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Details

Official Sites:

Country:

Language:

| | | |

Release Date:

25 December 1994 (USA)  »

Also Known As:

Ready to Wear  »

Box Office

Gross:

£1,120,302 (UK) (17 March 1995)
 »

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Karl Lagerfeld successfully blocked the film's release in Germany by launching a lawsuit against the makers over a line spoken by Forest Whitaker's character calling Lagerfeld a thief. In the end, the film was released with the word "thief" masked by a beep. See more »

Goofs

In the hotel room, Anne Eisenhower lifts a glass of wine from Joe Flynn's dining cart with her left hand and takes a drink. Joe makes a comment and it can be seen that Anne's left arm is up to her face (she is visible from the chest down), but when we cut back to Anne the glass is in her right hand as she puts it down. See more »

Quotes

[first lines]
[subtitled version - opening lines are in French, the English subtitles are a very rough translation]
Olivier de la Fontaine: [opening letter] Moscow? What's this about? Put that on the desk. Dear Mr. de la Fontaine: blah, blah, blah, blah... blah, blah, blah, blah...
Isabella de la Fontaine: [to dog] Robin. Robin. I told you not to! It's dirty. You shouldn't do that. Not in the house.
[to Olivier de la Fontaine]
Isabella de la Fontaine: You're a shit.
See more »

Crazy Credits

The film's opening scene where Mastroianni buys the 2 Dior ties is set in Moscow's Red Square and the first 2 lines of credits (a Miramax production and a Robert Altman film) appear solely in Cyrillic characters See more »

Connections

References The Hunger (1983) See more »

Soundtracks

Violent and Funky
Written by Mike Muir, Adam Siegel, Robert Trujilla and Dean Pleasants
Performed by Infectious Grooves
See more »

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User Reviews

 
Unfairly Maligned. Far better than people give it credit for
7 June 2001 | by (Saint Paul, MN) – See all my reviews

And that's not saying that it's great either. It is not. But it's tremendously low imdb rating makes me wonder who the heck is voting here. Pret-a-Porter is a pretty good Robert Altman film that is no better or worse than Short Cuts, which, while I feel it is a good film, I also think it is overrated. This one is, however, heavily underrated, and they both got the same imdb score from me: 7/10 = 3/4 stars.

This is another attempt to make another Nashville. There's a humongous ensemble cast of actors, some of the best on the planet, a couple of the best who ever lived. The screenwriter doesn't connect it all very well, and lots of the characters seem superfluous or underdeveloped, unlike in Nashville where even the characters who are only in a couple of scenes are as familiar to the viewer as a close friend. I would particularly have liked the Danny Aiello/Teri Garr section to have been removed. It falls pretty flat. The Sophia Loren/Marcello Mastrioanni section, the section that most film buffs are going to be excited for, also plops by its end. And Kim Basinger, a good actress, truly deserving her L.A. Confidential Oscar, is not very good as the Southern U.S. reporter: her accent is difficult to get around, and her character is often annoying, too. Sometimes, though, her pieces succeed.

Many other of the vignettes succeed quite well, although there are never any fireworks about to shoot off. The Tim Robbins/Julia Roberts plot is very funny. The three publishers, Sally Kellerman, Tracy Ullman, and Linda Hunt's attempts to sign photographer Milo (Stephen Rea) to their magazine are all very humorous. The love quadrangle between the two designers, Forest Whitaker and Richard E. Grant, and their lovers is very good, also. Anouk Aimee's section is also great, maybe the best part (Rupet Everett is good, also). I loved her so much in La Dolce Vita and 8 1/2. I was aching for her and Marcello Mastrioanni to interact.

The ending is truly fantastic. It is very well directed and filmed. It's a good film.


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