SnoopyStyle It's 2007 New York. The people at Vogue magazine are putting together the next September issue which is considered the yearly fashion bible. Anna Wintour is the legendary chief editor who commands the magazine and by extension the fashion world. The other main character is former model Grace Coddington who is now creative director. She is the only one who challenges Anna on her decisions. André Leon Talley is portrayed more as a sycophant. While it dives into the making of the issue, the business side of the magazine does not get as much time. There are small moments of personal reveals that cracks ever so slightly her steely facade. She talks about her family in a couple of scenes and her daughter has an appearance. It's a very small peak behind the curtains. This is a slice of an elite business. It's fascinating for some people and mildly interesting for everybody else.

catboy55 I am not sure why this only received a 6.7 out of 10 average rating? other than the fact that people are so harsh about fashion, and usually have no fashion sense of their own: This was AWESOME!!!!! Not only do you get a glimpse of the Shakespearean in magnitude hierarchy of the world's foremost fashion bible: VOGUE. We start off with the controlled, almost apologetic musings of the "Pope" of the fashion world, Anna Wintour. She is Donald Trump, Margaret Thatcher and Hitler all rolled into one. Every aspect of the fashion world is controlled by this English thorny rose. The thrust of the film is watching the development and ultimate fruition of producing the most purchased single issue of the entire magazine world (Yup, not even the SI Swimsuit edition matches up...) Anna Wintour's measured musings turn from quizzical to brash to straight up pompous. And you will love the absolutely predatory way in which she does it. Along the way we meet the supporting players, who are presented like the cast of "Friends" in their completely cartoonish predictability: Andre Leon Talley...trying to give credibility to his skim the surface role as one who creates a "Fashion dialog" (?!) with the editors...in a 5,000.00 moo moo. Grace Coddington with her "second fiddle to Anna" disdain. And many other "yes" men and women who make up this staff of fashion overachievers. The narrative is very straight forward: you see the evolution of editorial fashion spreads and jostling of elements to such an incredibly serious detail, editors and staff seemingly on the edge of a nervous breakdown on a daily basis and a lot of creativity along the way. It's true: this is art as commerce, and I loved it! Along with 2007's Picture Me, The September Issue is one of the best, most insightful and candid looks at the ONLY magazine that matters in the fashion world: VOGUE, honey! *SNAP*!

rainmakerrific I loved this documentary: clearly, Anna Wintour wears Prada. In the flesh. Whether or not you have any interest in fashion, this is a relevant piece that delves into the inner-workings of a POWERHOUSE of institutions...& how she runs a fashion magazine. This work is undoubtedly a labor of love, an obsession, a life, a religion, an undeniable passion that demands a sacrifice of self. Anna Wintour IS Vogue. She takes care of business like she was born to do it -- & unlike anyone else. It is awe-inspiring how much ONE PERSON can influence/change the world. Witnessing that, alone, makes this film worth the time to watch.While the movie unfolded, it was difficult to refrain from comparing Anna Wintour to the character of Miranda Priestly, for obvious reasons. Anna Wintour's Vogue turned out to be much more interesting to me than any bit of THE DEVIL WEARS PRADA. There was nothing condescending about Anna Wintour's countenance, comparatively. She is stoic, unwavering, steady, certain, respectful, honest, demanding, strict, serious -- yes. But not demeaning. HOW TO SAY "NO" WITHOUT FEELING GUILTY has nothing on Anna Wintour! Long live the Queen.

sandover Fabulous color, Anna Wintour exclaims, as, we too, watch an Oscar De la Renta huge dress pass by. It is the moment in the film I most vividly recall, because it is such nuggets of experience and aesthetic appreciation it communicates, first in the figure of Anna Wintour with its English, military restraint (but what ethos I dare say she personifies and is let to seep through) - no, correct me on this; it is reserve rather than restraint. And amiable, for that.Then, as delicious as Quixote and Sancho were, we have Ms. Coddington play the more eccentric part, or counterpart if you will, and at the same time more down to earth. Here we have a unique occasion to grasp two individuals at work together for more than twenty years: that's some kind of artistic collaboration, a specific kind of marriage.And it is the hard work, the unassuming presence (watch how Mrs Wintour behaves toward her daughter) and the right amount of confession (my brothers, she - confides? admits? complains? - says, find what I do amusing - hesitating here if she is to say something more) that win us over. The film begins clumsily, and is somewhat weighed down by the similarity of the premises and some of the names with the ones appearing in the still recent "The Devil Wears Prada", but then gains its own peculiar charm. I liked my acquaintance with Mrs Wintour; she is enigmatic, but not inhuman. Her hardworking aesthetic focus, discarding all secondary, irrelevant excellence, is all I want to know. And I would definitely go for a beer with Ms Coddington; she seems the right bad girl to go out with a night in the town. And this too, was something I liked: it showed that she was not someone who could not live without fashion, and thank God for such so highly ranked people! I am not sure for Wintour though; Suzy Menkes, for example, gives one the impression that she cannot live without fashion, though at a certain sadistic price one is afraid. The same goes for Anna Piaggi - minus the sadism, of course. But Wintour? She has an elusive quality that makes this film a film to rediscover.