Ready To Wear (Prêt-à-Porter) Movie Review (1994) | Roger Ebert Tweet The truth is, there is a lot of doggy-do in Paris. Robert Altman has been attacked in some quarters for making a Paris movie in which people are always stepping in it and wiping it off their feet. The amazing thing is that all French movies aren't filled with it. Gerard Depardieu should be as famous for his footwork as for his dramatic range. The French take their dogs with them everywhere. I was in a French restaurant once when a guy came in with his dog and had the dog sit right at the table with him. The maitre d' rushed over and told the guy he couldn't be served unless he buttoned his shirt. Advertisement Altman's "Ready to Wear," originally titled "Pret-a-Porter" before it was determined that Americans speak English, uses doggie calling cards as a motif for the French fashion industry, in which people are always stepping in something, so to speak.

The fashion industry is the most sublimely silly of human enterprises, making billions by convincing most of the human race to dress interchangeably and the rest to dress like the victims of a cruel jest. Once a year the industry gathers in Paris for the annual "ready to wear" shows, at which designers trot out their new clothes, and the world's fashion press has a great time. Altman has chosen this ritual as the latest target for one of his cheerfully rude human comedies, and boy, has the bleep hit the fan. The movie is a "hate letter" to the fashion industry, sniffed Time magazine's Richard Corliss, adding, "When you hear the word contempt, you think of Robert Altman." Funny. When I hear the word "contempt" I think of Kurt Cobain. So there you are. Lots of other people also are offended by Altman's irreverent view of the fashion industry's delicate egos, but the purpose of a movie like "Ready to Wear" is not to play fair or be objective, but to entertain. Is "Ready to Wear" entertaining? Not as much as I would have preferred.

I think Altman and his writer, former Chicago Sun-Times reporter Barbara Shulgasser, should have gone further and been meaner; too many of his jokes are generic slapstick, instead of being aimed squarely at industry's targets. If there had been a way, for example, to work in more about anorexia and bulimia, booming diseases the fashion industry shares responsibility for, that would have been fine with me. Advertisement As it is, Altman assembles a huge cast of characters (the movie is like a reunion of everyone he has ever worked with) and heaves them into a cauldron of a plot that crosses paths, lives and swords. A running narration has been one of his favorite devices since the loudspeaker announcements in " M*A*S*H " and " Brewster McCloud ," and this time it's supplied by Kim Basinger , as a breathlessly dim-witted cable reporter who says everything just a little wrong.

Other characters include a smarmy photographer ( Stephen Rea ) and the three fashion magazine editors (short Linda Hunt , tall Sally Kellerman and British Tracey Ullman ) who are all trying to hire him; old lovers from Rome ( Sophia Loren and Marcello Mastroianni ) who meet after many years; a snotty designer ( Richard E. Grant ) who learns his favorite model is pregnant; a transvestite buyer for Marshall Field's ( Danny Aiello ); the mistress ( Anouk Aimee ) of a widely hated fashion czar whose death much cheers everyone, and two American reporters ( Tim Robbins and Julia Roberts ) who spend most of the time in bed, drinking and making love. Advertisement At least one fashion reporter has protested that the depiction of this last couple is libelously inaccurate. I dunno. Maybe things like that don't happen on the fashion beat. At a movie premiere once, I happened upon two of my colleagues having sex in the bathroom of a hospitality suite. So there you are. The movie's many story strands are loosely woven; we glimpse people in the background of one shot and then learn more about them later, as Altman builds the sense of a community.

One of the liberating things about his style, in such films as "M*A*S*H," " McCabe and Mrs. Miller ," " Nashville " and " The Player ," is that he doesn't focus on a small group of foreground actors, but lets you see how his characters are part of a communal setting. Individual egos clash with the group's view of itself. There are some nice moments here. Robbins and Roberts, who hardly leave their room, create the bittersweet sense of a self-contained affair that has no reference to their real lives, past or future, and will wither on exposure to reality. Loren and Mastroianni, rerunning the striptease scene from "Yesterday, Today and Tomorrow" (1964), find a kind of elegiac tone that reminded me of a magical moment from Fellini's final film, " Intervista ," where Mastroianni and Anita Ekberg remembered their great fountain scene from " La Dolce Vita ." And Basinger's tortured journalese is very funny. Advertisement There is also an undeniable pleasure simply in people-watching.

In "Ready to Wear," you will see Lauren Bacall , Harry Belafonte , Teri Garr , Forest Whitaker , Naomi Campbell , Lyle Lovett , Christy Turlington , Cher and countless others, sometimes shot in scenes that feel improvised in the midst of real events. The result is a little like a comedy crossed with a home movie. It is also, like many home movies, somewhat rambling, and overly dependent on knowing the names of all the players. If you know nothing about the fashion industry, your enjoyment of "Ready to Wear" is likely to be limited. If you know everything about it, your reaction, judging from the early returns, is likely to be purple-faced rage. That leaves, let's see, people who know something about the long and wonderful career of Robert Altman, and who are likely to find this film, if not among his best, very nice to have, all the same.

Advertisement Michel Legrand, Various Artists - Robert Altman's Pret-A-Porter (Ready To Wear): Music From The Motion Picture - Amazon.com Music Pret-A-Porter ~ Robert Altman's Pret-A-Porter ( Amazon.com Ini Kamoze's "Here Comes the Hotstepper" alone makes this OST to the Robert Altman film (renamed Ready To Wear for us hicks in the North American sticks) a monster prospect. Laden with dance, urban, and alternative gems, it will be boosted by entries from Supercat, Janet Jackson (the "Let's Get It On"-inspired 70's "Love Groove") and British sensations M People. Toss in new cuts from The Rolling Stones, Sam Phillips (a dizzy cover of "These Boots Are Made For Walking"), Deep Forest (on a Bulgarian tip), The New Power Generation and a revitalized Terence Trent D'Arby and presto vivacé--this will be flying off the rack. Jeff Bateman Track Listings Ready to Wear - YouTube Ready to Wear Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded.

Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jul 14, 2008 trailer Pret a porter - definition of Pret a porter by The Free Dictionary Pret a porter - definition of Pret a porter by The Free Dictionary Also found in: Thesaurus , Wikipedia . read·y-to-wear (rĕd′ē-tə-wâr′) adj. Of or relating to clothing, especially designer clothing, that is marketed in a finished condition in standard sizes. n. Clothing marketed in a finished condition in standard sizes: saves money by buying ready-to-wear. ready-to-wear adj (ready to wear when postpositive) (Clothing & Fashion) (of clothes) not tailored for the wearer; of a standard size n (Clothing & Fashion) an article or suit of such clothes read′y-to-wear′ 2. being, pertaining to, or dealing in such clothing. [1890–95, Amer.] 1.

ready-to-wear - ready-made clothing; "she couldn't find anything in ready-to-wear that she liked" article of clothing , clothing , habiliment , wearable , vesture , wear - a covering designed to be worn on a person's body Adj. 1. ready-to-wear - (especially of clothing) made in standard sizes and available from merchandise in stock; "a ready-made jacket"; "ready-to-wear clothes" ready-made - made for purchase and immediate use Translations [ˌredɪtəˈwɛəʳ] ADJ [clothes] → confeccionado , listo para llevar ready-to-wear ready (ˈredi) adjective 1. (negative unready) prepared; able to be used etc immediately or when needed; able to do (something) immediately or when necessary. I've packed our cases, so we're ready to leave; Is tea ready yet?; Your coat has been cleaned and is ready (to be collected).

gereed جاهِز готов pronto připravený, hotový fertig parat; klar έτοιμος preparado , listo valmis آماده valmis prêt מוכן तैयार spreman, pripravan kész siap tilbúinn pronto 用意のできた 준비가 된 pasiruošęs, gatavas gatavs bersedia klaar klar , ferdig przygotowany , gotowy تيار، چمتو، حاضر، درست، وړ، جوړ، په لاس كى، په قدرت كې، پيدا، موجود، سمدلاسه، فورى، زر pronto gata (de/să) готовый pripravený, hotový pripravljen spreman redo, klar, färdig เตรียมพร้อม hazır 準備好的 готовий; підготовлений تیار đã xong 准备好的 2. (negative unready) willing. I'm always ready to help.

gereed, reg مُستَعِد склонен pronto / disposto ochotný bereit parat πρόθυμος , διατεθειμένος dispuesto valmis, nõus آماده؛ حاضر به انجام کاری halukas prêt מוכן तैयार, मुस्तैद spreman, voljan hajlandó bersedia reiðubúinn, fús disposto 喜んで～する 기꺼이 pasiruošęs, linkęs gatavs palīdzēt berkehendakkan bereid klar , parat , rede chętny د یو کار لپاره چمتو disposto gata (să) готовый, согласный ochotný pripravljen spreman redo, beredd เต็มใจ hazır , istekli 樂意的 готовий آمادہ đã sẵn sàng 乐意的 3. quick. You're too ready to find faults in other people; He always has a ready answer.

gereed سَريع бърз pronto rychlý rasch hurtig βιαστικός , πρόχειρος pronto valmis, hakkamas تند و چابک؛ حاضر nopea prompt מהיר शीघ्र, तत्काल spreman, pripravan gyors cepat snar, fljótur til sollecito , pronto すぐに～する 재빠른 greitas veikls; ātrs cepat snel snar , rede gotów, gotowy حاضر pronto gră­bit; prompt готовый rýchly pripravljen brz snar, benägen, snabb รวดเร็ว hazır 快的 легкий, моторний فوری nhanh 快的 4. likely, about (to do something). My head feels as if it's ready to burst.

omtrent, gaan جاهِز готов pronto a právě chtít im Begriff parat; ved at έτοιμος , που κοντεύει a punto de hakkamas در شرف -maisillaan, -mäisillään prêt à , sur le point de מוכן तैयार vjerovatno éppen (vmi előtt van v.

vmi történik vkivel), készül (...ni) akan að því kominn að pronto ～しそう 금방 …할 것 같은 galintis man galva vai plīst seperti mahu/akan op het punt van klar , i ferd med å gotów, gotowy په شرف كي pronto a gata să, pe punctul de a находящийся на грани (práve) ísť tik pred tem, da spreman färdig, vara nära att สภาพเตรียมพร้อม ...-ecek gibi 快要...的 готовий خواہاں gần như; sắp 快要...的 ˈreadiness noun gereedheid إستِعداد، مَيل готовност boa vontade ochota, připravenost die Bereitschaft beredskab; beredvillighed ετοιμότητα prontitud ; disponibilidad valmidus آمادگی؛ آسانی؛ سهولت valmius promptitude מוכנות तत्परता spremnost, pripravnost készenlét; kön

nyedség, gyorsaság; (szolgálat)készség kesiapan það að vera tilbúinn prontezza 容易 준비가 되어 있음 pasiruošimas gatavība kesediaan bereidheid , snelheid beredskap gotowość چمتووالى، تيارى boa vontade promptitudine готовность ochota, pripravenosť pripravljenost spremnost beredvillighet, snabbhet, beredskap ความพร้อม hazırlıklı olma (durumu) 準備就緒 готовність, бажання تیاری sự sẵn sàng 准备就绪 ˈreadily adverb 1.

willingly. I'd readily help you. geredelik على إستِعداد склонно de bom grado ochotně bereitwillig med glæde πρόθυμα de buena gana lahkesti با میل؛ به دلخواه auliisti volontiers לְלא הִיסוּס खुशी-खुशी, तत्परता से rado, spremno készségesen bersedia fúslega volentieri 喜んで 기꺼이 mielai labprāt suka rela graag gjerne , villig chętnie په تياره de bom grado cu dragă inimă охотно ochotne rade volje rado beredvilligt, gärna อย่างไม่ลังเล severek, isteyerek 樂意地 охоче, залюбки آمادگی سے sẵn sàng 乐意地，欣然地 2. without difficulty. I can readily answer all your questions.

geredelik بِدون صُعوبه безпроблемно prontamente snadno ohne weiteres med lethed χωρίς δυσκολία, αβίαστα fácilmente ilma vaevata به آسانی vaivatta facilement ללא קוֹשִי सरलता से lako, bez problema könnyedén dengan mudah auðveldlega facilmente 簡単に 쉽게 lengvai bez pūlēm, viegli dengan senang gemakkelijk lett , uten vanskeligheter bez trudu په تياره prontamente uşor без труда ľahko zlahka lako med lätthet อย่างง่ายดาย kolayca, çabucak , şıp diye 容易地 легко, без зусиль بغیر کسی پریشانی کے dễ dàng 容易地 ready cash ready money.

geld wat gereed is المال نَقداً готови пари dinheiro vivo hotovost das Bargeld rede penge μετρητά dinero contante/en efectivo sularaha نقد؛ در دسترس käsikassa argent liquide מְזוּמָנִים नकद, नगद gotov novac készpénz uang tunai reiðufé (denaro liquido) 現金 현금 grynieji skaidra nauda tunai segera contant geld kontanter , rede penger gotówka سمدلاسه dinheiro bani gheaţă наличные деньги hotovosť gotovina gotov novac kontanter, reda pengar เงินด่วน peşin para 現金 готівка نقد دام tiền mặt 现款 ˌready-ˈmade adjective (especially of clothes) made in standard sizes, and for sale to anyone who wishes to buy, rather than being made for one particular person. a ready-made suit.

massavervaardig مَلابِس مَصنوعه بِقياس مِعياري ثابت фабричен pronto a vestir hotový Konfektions-...

færdigsyet έτοιμος , φτιαχτός hecho , confeccionado valmis- دوخته؛ بازاری valmis- tout fait מוכן रेडीमेड konfekcijski (odjeća) kész- (ruha) siap pakai, sudah jadi tilbúinn, ekki saumaður eftir máli confezionato 既製の 기성품인 gatavas (par apģērbu) gatavs tersedia confectie- konfeksjons- , ferdigsydd gotowy بازاری pronto a vestir de(‑a) gata готовый hotový konfekcijski gotov färdigsydd, -gjord สินค้าสำเร็จพร้อมขาย hazır 現成的 готовий تیار شدہ làm sẵn 现成的 ready money coins and banknotes. I want to be paid in ready money, not by cheque.

regte geld مال نَقداً пари на ръка dinheiro vivo hotovost das Bargeld rede penge; kontant μετρητά dinero contante/en efectivo sularaha پول نقد käteinen espèces מְזוּמָנִים नकद, नगद gotovina készpénz uang tunai reiðufé contante 現金 현금 gryni pinigai skaidra nauda wang tunai contant geld kontanter , rede penger gotówka نقده پیسی dinheiro numerar наличные деньги hotovosť gotovina gotov novac kontanter, reda pengar เงินสด peşin para 現金 готівка نقد سکہ راءج الوقت tiền có ngay 现款 ˌready-to-ˈwear adjective (of clothes) ready-made. massavervaardig ثِياب جاهِزه للُبس фабричен pronto para vestir konfekční Konfektions-...

færdigsyet έτοιμος , φτιαχτός confeccionado , hecho valmis- دوخته؛ آماده valmis- prêt à porter מוּכָן לִלבִישָׁה बना बनाया पहनने योग्य gotov, konfekcijski kész- (ruha) siap pakai tilbúinn fatnaður prêt-à-porter 既製服の 기성품인 gatavas gatavs tersedia untuk dipakai confectie- konfeksjons- gotowy تیار pronto a vestir pret-a-porter, (de-a) gata готовый konfekčný konfekcijski konfekcijski färdigsydd, konfektions- เสื้อผ้าสำเร็จรูป hazır , konfeksiyon 成衣的 готовий تیار شدہ quần áo may sẵn 制成的 in readiness ready. I want everything in readiness for his arrival.

gereed على إستِعداد в готовност preparado připravený bereit forberedt σε ετοιμότητα preparado , listo valmis آماده valmiudessa prêt בְּמָצַב מוּכָן तुरंत, तत्परता spremno, pripravno készen siap, sudah jadi tilbúið pronto 用意のできた 준비를 갖추고 paruošta sagatavots; gatavībā tersedia kant en klaar i beredskap w pogotowiu چمتو preparado pregătit наготове pripravený pripravljen spremno i ordning, färdig อยู่ในสภาพที่พร้อม hazır 準備就緒 готовий تیار sự sẵn sàng 准备妥当 Haute Couture VS Pret-a-Porter ( Ready-to-wear) | Posted on October 15, 2010 by lingerissimi I have often been asked the same questions —“What’s

 the difference between Haute Couture and Pret-a-Porter?” When my friends read in the fashion magazine that certain movie star in the Red Carpet with description as “Angelina Jolie in Jean Paul Gaultier” or the other one “Angelina Jolie in John Galliano Couture”.

They wondered, “What is the difference?” The difference is “Haute Couture” and “Pret-a-Porter” (or in English translated as “ready-to-wear” or as short form “RTW”) in the fashion industry. The first one means that Angelina Jolie wears ready-to-wear collection from Jean Paul Gaultier while the second one means that she wears the Couture collection from John Galliano. In today’s fashion designer’s world, a lot of popular and influential brands produce basically two categories of clothing. One is Haute Couture. It is a French word means High fashion. It involves with expensive material and very high intensive labor. It is usually made to order, that means it is customize to certain client. The exclusive Couture Collections are made upon a special request, measure to fit the particular client perfectly. Some of the couture gowns were made month after month with more than 5 sewers hand sewn or even hand painted the whole dress. That is why the couture dresses are so expensive. An evening dress can cost around 40,000 dollars and a suit not much less. Most of the clients are celebrities or royal families or very rich people.

Experts estimate that there are no more than 300 clients for the clothes. Not every fashion designer can produce the couture collection. They have to get an official permission from the Syndical Chamber for Haute Couture, which is based in Paris. According to the agreement, designers have to show their collections twice a year and not less than 35 outfits in one collection. That rule makes the Couture collection more desirable. While Pret-a-Porter ( Ready-to-wear) are clothing made in standard sizes. Traditionally, they are made for ordinary people. These collections are aimed to satisfy the demands of masses. Of course, the material and the intensity of labor of the ready-to-wear collections are much more moderate than the couture collections. Hence, the price are more approachable to the mass media. Almost each Fashion house produces ready-to-wear collections. They bring a lot of money and clients, because of a quicker and bigger volume turnover, also, they cost less and many people can afford them. In the meantime, they look adorable as well. Ready-to-wear clothing is casual, informal and practical that you can wear it daily. I hope I finally can answer all those friends that asked me the same question!

Hidi Prêt-à-Porter - 必应 Sign in Prêt-à-Porter Prêt-à-Porter, released in the US as Ready to Wear (Prêt-à-Porter), is a 1994 American satirical comedy film co-written, directed, and produced by Robert Altman and shot on location in Paris, France, Fashion Week with a host of international stars, models and designers. The film may be best known for its many cameo appearances and its final scene which features two minutes of nude female models walking the catwalk. 这部电影又名ready to wear，霓裳风暴，成衣等。索非亚罗兰，金贝辛格，朱丽亚罗伯兹等等主演的。最好是用bt下载，哪有？ 答 How can I preg_replace special character like 'Prêt-à-porter'? There are heaps of Qs about this on this forum and on the web in general.

But I don't just get it.Here is my code:function updateGuideKeywords($dal) { $pattern = "/[^a-zA-Z-êàé]/"; $keywords = preg_replace($pattern, '', $_POST['keywords']); echo json_encode($keywords); } Now, the input is Prêt-à-porter, and the output is "Pr\u00eat-\u00e0-porter".Why do I get the '\u00e' ?And how can I alter my pattern to include the characters ê, à and é ?EDIThumm...

since it looks like a unicode / character issue, I might go for the solution I found on this page.Here they suggest doing something like this:$chain="prêt-à-porter"; $pattern = array("'é'", "'è'", "'ë'", "'ê'", "'É'", "'È'", "'Ë'", "'Ê'", "'á'", "'à'", "'ä'", "'â'", "'å'", "'Á'", "'À'", "'Ä'", "'Â'", "'Å'", "'ó'", "'ò'", "'ö'", "'ô'", "'Ó'", "'Ò'", "'Ö'", "'Ô'", "'í'", "'ì'", "'ï'", "'î'", "'Í'", "'Ì'", "'Ï'", "'Î'", "'ú'", "'ù'", "'ü'", "'û'", "'Ú'", "'Ù'", "'Ü'", "'Û'", "'ý'", "'ÿ'", "'Ý'", "'ø'", "'Ø'", "'œ'", "'Œ'", "'Æ'", "'ç'", "'Ç'"); $replace = array('e', 'e', 'e', 'e', 'E', 'E', 'E', 'E', 'a', 'a', 'a', 'a', 'a', 'A', 'A', 'A', 'A', 'A

', 'o', 'o', 'o', 'o', 'O', 'O', 'O', 'O', 'i', 'i', 'i', 'I', 'I', 'I', 'I', 'I', 'u', 'u', 'u', 'u', 'U', 'U', 'U', 'U', 'y', 'y', 'Y', 'o', 'O', 'a', 'A', 'A', 'c', 'C'); $chain = preg_replace($pattern, $replace, $chain); EDIT 2This is my solution so far:function updateGuideKeywords() { //First we replace characters with accents $pattern = array("'é'", "'è'", "'ë'", "'ê'", "'É'", "'È'", "'Ë'", "'Ê'", "'á'", "'à'", "'ä'", "'â'", "'å'", "'Á'", "'À'", "'Ä'", "'Â'", "'Å'", "'ó'", "'ò'", "'ö'", "'ô'", "'Ó'", "'Ò'", "'Ö'", "'Ô'", "'í'", "'ì'", "'ï'", "'î'", "'Í'", "'Ì'", "'Ï'", "'Î'", "'ú'", "'ù'", "'ü'", "'û

'", "'Ú'", "'Ù'", "'Ü'", "'Û'", "'ý'", "'ÿ'", "'Ý'", "'ø'", "'Ø'", "'œ'", "'Œ'", "'Æ'", "'ç'", "'Ç'"); $replace = array('e', 'e', 'e', 'e', 'E', 'E', 'E', 'E', 'a', 'a', 'a', 'a', 'a', 'A', 'A', 'A', 'A', 'A', 'o', 'o', 'o', 'o', 'O', 'O', 'O', 'O', 'i', 'i', 'i', 'I', 'I', 'I', 'I', 'I', 'u', 'u', 'u', 'u', 'U', 'U', 'U', 'U', 'y', 'y', 'Y', 'o', 'O', 'a', 'A', 'A', 'c', 'C'); $shguideID = $_POST['shguideID']; $keywords = preg_replace($pattern, $replace, $_POST['keywords']); //Then we remove unwanted characters by only allowing a-z, A-Z, comma, 'minus' and white space $

keywords = preg_replace("/[^a-zA-Z-,\s]/", "", $keywords); echo json_encode($keywords); } 图片: 图片: 答 "Pr\u00eat-\u00e0-porter" is a correct JavaScript string literal representation of Prêt-à-porter.

I assume you're doing a json_encode at some point along the line?Note also that ... How can I preg_replace special character like 'Prêt-à-porter'? There are heaps of Qs about this on this forum and on the web in general. But I don't just get it.Here is my code:function updateGuideKeywords($dal) { $pattern = "/[^a-zA-Z-êàé]/"; $keywords = preg_replace($pattern, '', $_POST['keywords']); echo json_encode($keywords); } Now, the input is Prêt-à-porter, and the output is "Pr\u00eat-\u00e0-porter".Why do I get the '\u00e' ?And how can I alter my pattern to include the characters ê, à and é ?EDIThumm...

since it looks like a unicode / character issue, I might go for the solution I found on this page.Here they suggest doing something like this:$chain="prêt-à-porter"; $pattern = array("'é'", "'è'", "'ë'", "'ê'", "'É'", "'È'", "'Ë'", "'Ê'", "'á'", "'à'", "'ä'", "'â'", "'å'", "'Á'", "'À'", "'Ä'", "'Â'", "'Å'", "'ó'", "'ò'", "'ö'", "'ô'", "'Ó'", "'Ò'", "'Ö'", "'Ô'", "'í'", "'ì'", "'ï'", "'î'", "'Í'", "'Ì'", "'Ï'", "'Î'", "'ú'", "'ù'", "'ü'", "'û'", "'Ú'", "'Ù'", "'Ü'", "'Û'", "'ý'", "'ÿ'", "'Ý'", "'ø'", "'Ø'", "'œ'", "'Œ'", "'Æ'", "'ç'", "'Ç'"); $replace = array('e', 'e', 'e', 'e', 'E', 'E', 'E', 'E', 'a', 'a', 'a', 'a', 'a', 'A', 'A', 'A', 'A', 'A

', 'o', 'o', 'o', 'o', 'O', 'O', 'O', 'O', 'i', 'i', 'i', 'I', 'I', 'I', 'I', 'I', 'u', 'u', 'u', 'u', 'U', 'U', 'U', 'U', 'y', 'y', 'Y', 'o', 'O', 'a', 'A', 'A', 'c', 'C'); $chain = preg_replace($pattern, $replace, $chain); EDIT 2This is my solution so far:function updateGuideKeywords() { //First we replace characters with accents $pattern = array("'é'", "'è'", "'ë'", "'ê'", "'É'", "'È'", "'Ë'", "'Ê'", "'á'", "'à'", "'ä'", "'â'", "'å'", "'Á'", "'À'", "'Ä'", "'Â'", "'Å'", "'ó'", "'ò'", "'ö'", "'ô'", "'Ó'", "'Ò'", "'Ö'", "'Ô'", "'í'", "'ì'", "'ï'", "'î'", "'Í'", "'Ì'", "'Ï'", "'Î'", "'ú'", "'ù'", "'ü'", "'û

'", "'Ú'", "'Ù'", "'Ü'", "'Û'", "'ý'", "'ÿ'", "'Ý'", "'ø'", "'Ø'", "'œ'", "'Œ'", "'Æ'", "'ç'", "'Ç'"); $replace = array('e', 'e', 'e', 'e', 'E', 'E', 'E', 'E', 'a', 'a', 'a', 'a', 'a', 'A', 'A', 'A', 'A', 'A', 'o', 'o', 'o', 'o', 'O', 'O', 'O', 'O', 'i', 'i', 'i', 'I', 'I', 'I', 'I', 'I', 'u', 'u', 'u', 'u', 'U', 'U', 'U', 'U', 'y', 'y', 'Y', 'o', 'O', 'a', 'A', 'A', 'c', 'C'); $shguideID = $_POST['shguideID']; $keywords = preg_replace($pattern, $replace, $_POST['keywords']); //Then we remove unwanted characters by only allowing a-z, A-Z, comma, 'minus' and white space $

keywords = preg_replace("/[^a-zA-Z-,\s]/", "", $keywords); echo json_encode($keywords); } 图片: 图片: 答 "Pr\u00eat-\u00e0-porter" is a correct JavaScript string literal representation of Prêt-à-porter.

I assume you're doing a json_encode at some point along the line?Note also that ... Sophia Loren as Isabella de la Fontaine Anouk Aimée as Simone Lowenthal Rupert Everett as Jack Lowenthal Julia Roberts as Anne Eisenhower Tim Robbins as Joe Flynn Kim Basinger as Kitty Potter Stephen Rea as Milo O'Brannigan Forest Whitaker as Cy Bianco Richard E.

Grant as Cort Romney Lauren Bacall as Slim Chrysler Lyle Lovett as Clint Lammeraux Lili Taylor as Fiona Ulrich Sally Kellerman as Sissy Wanamaker Tracey Ullman as Nina Scant Linda Hunt as Regina Krumm Teri Garr as Louise Hamilton Danny Aiello as Major Hamilton Ute Lemper as Albertine Rossy de Palma as Pilar Chiara Mastroianni as Sophie Choiset Jean-Pierre Cassel as Olivier de la Fontaine Tara Leon as Kiki Simpson Georgianna Robertson as Dane Simpson Tom Novembre as Reggie Anne Canovas as Violetta Romney Jean Rochefort as Inspector Tantpis Michel Blanc as Inspector Forget François Cluzet as Nina's assistant Kasia Figura as Sissy's assistant Sam Robards as Regina's assistant Alexandra Vandernoot as Sandra de la Notte, Sky TV Reporter As themselves Ready-to-wear - definition of ready-to-wear by The Free Dictionary Ready-to-wear - definition of ready-to-wear by The Free Dictionary (rĕd′ē-tə-wâr′) adj. Of or relating to clothing, especially designer clothing, that is marketed in a finished condition in standard sizes. n.

Clothing marketed in a finished condition in standard sizes: saves money by buying ready-to-wear. ready-to-wear adj (ready to wear when postpositive) (Clothing & Fashion) (of clothes) not tailored for the wearer; of a standard size n (Clothing & Fashion) an article or suit of such clothes read′y-to-wear′ 2. being, pertaining to, or dealing in such clothing. [1890–95, Amer.] 1. ready-to-wear - ready-made clothing; "she couldn't find anything in ready-to-wear that she liked" article of clothing , clothing , habiliment , wearable , vesture , wear - a covering designed to be worn on a person's body Adj. 1. ready-to-wear - (especially of clothing) made in standard sizes and available from merchandise in stock; "a ready-made jacket"; "ready-to-wear clothes" ready-made - made for purchase and immediate use Translations [ˌredɪtəˈwɛəʳ] ADJ [clothes] → confeccionado , listo para llevar ready-to-wear ready (ˈredi) adjective 1.

(negative unready) prepared; able to be used etc immediately or when needed; able to do (something) immediately or when necessary. I've packed our cases, so we're ready to leave; Is tea ready yet?; Your coat has been cleaned and is ready (to be collected).

gereed جاهِز готов pronto připravený, hotový fertig parat; klar έτοιμος preparado , listo valmis آماده valmis prêt מוכן तैयार spreman, pripravan kész siap tilbúinn pronto 用意のできた 준비가 된 pasiruošęs, gatavas gatavs bersedia klaar klar , ferdig przygotowany , gotowy تيار، چمتو، حاضر، درست، وړ، جوړ، په لاس كى، په قدرت كې، پيدا، موجود، سمدلاسه، فورى، زر pronto gata (de/să) готовый pripravený, hotový pripravljen spreman redo, klar, färdig เตรียมพร้อม hazır 準備好的 готовий; підготовлений تیار đã xong 准备好的 2. (negative unready) willing. I'm always ready to help.

gereed, reg مُستَعِد склонен pronto / disposto ochotný bereit parat πρόθυμος , διατεθειμένος dispuesto valmis, nõus آماده؛ حاضر به انجام کاری halukas prêt מוכן तैयार, मुस्तैद spreman, voljan hajlandó bersedia reiðubúinn, fús disposto 喜んで～する 기꺼이 pasiruošęs, linkęs gatavs palīdzēt berkehendakkan bereid klar , parat , rede chętny د یو کار لپاره چمتو disposto gata (să) готовый, согласный ochotný pripravljen spreman redo, beredd เต็มใจ hazır , istekli 樂意的 готовий آمادہ đã sẵn sàng 乐意的 3. quick. You're too ready to find faults in other people; He always has a ready answer.

gereed سَريع бърз pronto rychlý rasch hurtig βιαστικός , πρόχειρος pronto valmis, hakkamas تند و چابک؛ حاضر nopea prompt מהיר शीघ्र, तत्काल spreman, pripravan gyors cepat snar, fljótur til sollecito , pronto すぐに～する 재빠른 greitas veikls; ātrs cepat snel snar , rede gotów, gotowy حاضر pronto gră­bit; prompt готовый rýchly pripravljen brz snar, benägen, snabb รวดเร็ว hazır 快的 легкий, моторний فوری nhanh 快的 4. likely, about (to do something). My head feels as if it's ready to burst.

omtrent, gaan جاهِز готов pronto a právě chtít im Begriff parat; ved at έτοιμος , που κοντεύει a punto de hakkamas در شرف -maisillaan, -mäisillään prêt à , sur le point de מוכן तैयार vjerovatno éppen (vmi előtt van v.

vmi történik vkivel), készül (...ni) akan að því kominn að pronto ～しそう 금방 …할 것 같은 galintis man galva vai plīst seperti mahu/akan op het punt van klar , i ferd med å gotów, gotowy په شرف كي pronto a gata să, pe punctul de a находящийся на грани (práve) ísť tik pred tem, da spreman färdig, vara nära att สภาพเตรียมพร้อม ...-ecek gibi 快要...的 готовий خواہاں gần như; sắp 快要...的 ˈreadiness noun gereedheid إستِعداد، مَيل готовност boa vontade ochota, připravenost die Bereitschaft beredskab; beredvillighed ετοιμότητα prontitud ; disponibilidad valmidus آمادگی؛ آسانی؛ سهولت valmius promptitude מוכנות तत्परता spremnost, pripravnost készenlét; kön

nyedség, gyorsaság; (szolgálat)készség kesiapan það að vera tilbúinn prontezza 容易 준비가 되어 있음 pasiruošimas gatavība kesediaan bereidheid , snelheid beredskap gotowość چمتووالى، تيارى boa vontade promptitudine готовность ochota, pripravenosť pripravljenost spremnost beredvillighet, snabbhet, beredskap ความพร้อม hazırlıklı olma (durumu) 準備就緒 готовність, бажання تیاری sự sẵn sàng 准备就绪 ˈreadily adverb 1.

willingly. I'd readily help you. geredelik على إستِعداد склонно de bom grado ochotně bereitwillig med glæde πρόθυμα de buena gana lahkesti با میل؛ به دلخواه auliisti volontiers לְלא הִיסוּס खुशी-खुशी, तत्परता से rado, spremno készségesen bersedia fúslega volentieri 喜んで 기꺼이 mielai labprāt suka rela graag gjerne , villig chętnie په تياره de bom grado cu dragă inimă охотно ochotne rade volje rado beredvilligt, gärna อย่างไม่ลังเล severek, isteyerek 樂意地 охоче, залюбки آمادگی سے sẵn sàng 乐意地，欣然地 2. without difficulty. I can readily answer all your questions.

geredelik بِدون صُعوبه безпроблемно prontamente snadno ohne weiteres med lethed χωρίς δυσκολία, αβίαστα fácilmente ilma vaevata به آسانی vaivatta facilement ללא קוֹשִי सरलता से lako, bez problema könnyedén dengan mudah auðveldlega facilmente 簡単に 쉽게 lengvai bez pūlēm, viegli dengan senang gemakkelijk lett , uten vanskeligheter bez trudu په تياره prontamente uşor без труда ľahko zlahka lako med lätthet อย่างง่ายดาย kolayca, çabucak , şıp diye 容易地 легко, без зусиль بغیر کسی پریشانی کے dễ dàng 容易地 ready cash ready money.

geld wat gereed is المال نَقداً готови пари dinheiro vivo hotovost das Bargeld rede penge μετρητά dinero contante/en efectivo sularaha نقد؛ در دسترس käsikassa argent liquide מְזוּמָנִים नकद, नगद gotov novac készpénz uang tunai reiðufé (denaro liquido) 現金 현금 grynieji skaidra nauda tunai segera contant geld kontanter , rede penger gotówka سمدلاسه dinheiro bani gheaţă наличные деньги hotovosť gotovina gotov novac kontanter, reda pengar เงินด่วน peşin para 現金 готівка نقد دام tiền mặt 现款 ˌready-ˈmade adjective (especially of clothes) made in standard sizes, and for sale to anyone who wishes to buy, rather than being made for one particular person. a ready-made suit.

massavervaardig مَلابِس مَصنوعه بِقياس مِعياري ثابت фабричен pronto a vestir hotový Konfektions-...

færdigsyet έτοιμος , φτιαχτός hecho , confeccionado valmis- دوخته؛ بازاری valmis- tout fait מוכן रेडीमेड konfekcijski (odjeća) kész- (ruha) siap pakai, sudah jadi tilbúinn, ekki saumaður eftir máli confezionato 既製の 기성품인 gatavas (par apģērbu) gatavs tersedia confectie- konfeksjons- , ferdigsydd gotowy بازاری pronto a vestir de(‑a) gata готовый hotový konfekcijski gotov färdigsydd, -gjord สินค้าสำเร็จพร้อมขาย hazır 現成的 готовий تیار شدہ làm sẵn 现成的 ready money coins and banknotes. I want to be paid in ready money, not by cheque.

regte geld مال نَقداً пари на ръка dinheiro vivo hotovost das Bargeld rede penge; kontant μετρητά dinero contante/en efectivo sularaha پول نقد käteinen espèces מְזוּמָנִים नकद, नगद gotovina készpénz uang tunai reiðufé contante 現金 현금 gryni pinigai skaidra nauda wang tunai contant geld kontanter , rede penger gotówka نقده پیسی dinheiro numerar наличные деньги hotovosť gotovina gotov novac kontanter, reda pengar เงินสด peşin para 現金 готівка نقد سکہ راءج الوقت tiền có ngay 现款 ˌready-to-ˈwear adjective (of clothes) ready-made. massavervaardig ثِياب جاهِزه للُبس фабричен pronto para vestir konfekční Konfektions-...

færdigsyet έτοιμος , φτιαχτός confeccionado , hecho valmis- دوخته؛ آماده valmis- prêt à porter מוּכָן לִלבִישָׁה बना बनाया पहनने योग्य gotov, konfekcijski kész- (ruha) siap pakai tilbúinn fatnaður prêt-à-porter 既製服の 기성품인 gatavas gatavs tersedia untuk dipakai confectie- konfeksjons- gotowy تیار pronto a vestir pret-a-porter, (de-a) gata готовый konfekčný konfekcijski konfekcijski färdigsydd, konfektions- เสื้อผ้าสำเร็จรูป hazır , konfeksiyon 成衣的 готовий تیار شدہ quần áo may sẵn 制成的 in readiness ready. I want everything in readiness for his arrival.

gereed على إستِعداد в готовност preparado připravený bereit forberedt σε ετοιμότητα preparado , listo valmis آماده valmiudessa prêt בְּמָצַב מוּכָן तुरंत, तत्परता spremno, pripravno készen siap, sudah jadi tilbúið pronto 用意のできた 준비를 갖추고 paruošta sagatavots; gatavībā tersedia kant en klaar i beredskap w pogotowiu چمتو preparado pregătit наготове pripravený pripravljen spremno i ordning, färdig อยู่ในสภาพที่พร้อม hazır 準備就緒 готовий تیار sự sẵn sàng 准备妥当 Ready to Wear Reviews & Ratings - IMDb IMDb 38 out of 47 people found the following review useful: Unfairly Maligned.

Far better than people give it credit for from Saint Paul, MN 7 June 2001 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. Was the above review useful to you? 29 out of 40 people found the following review useful: Witty, scathing, and a delight! from New York, NY 18 January 1999 It was truly exciting to see `Ready to Wear' in the theaters when it first came out. Seldom do films delight and amuse us at this level. But this is like a Woody Allen film: either you love it or hate it. Since the story is too complicated to explain (and the best thing about this film), I'm sticking to mostly non-plot aspects in this review. One of the challenges in your first viewing will be this film's utter lack of exposition. You will be asked to board this train while it is moving; in fact, you will need to leap from track to track. The story is not unfolded as much as it is thrown at you in pieces. Two minutes after you are tossed into a conversation (already in progress), you will be asked to join another. Unless you have a mind as competitively poised as a super-model, you'll miss much of the movie the first time.

Don't let the immersion in the world of fashion fool you into thinking this is a movie `about' fashion. Fashion is merely a backdrop, a setting for Altman to play his scenes. That he so thoroughly masters his subject is merely a tribute to his intelligence and sophistication. Like Milos Forman in `The Firemen's Ball,' Altman has created a wonderful menagerie of human foibles with which to lampoon us. Our pettiness, our lack of shame, our corruption and our low regard for each other are portrayed so truthfully and cleverly that we don't notice who is the real subject of the satire. We smugly assume it is the fashion world on trial. Even the opening credits were fun - what a collection of personalities (all stitched on garment labels)!. Every casting decision was a good one; every performance was satisfying. The only thing funnier than Danny Aiello in drag, is watching him being told he looks like Barbra Streisand. And the only thing funnier than that is realizing it's true. While we're trying to figure out a murder, we are also being dazzled by the constellation of world stars of all kinds parading before us.

That Altman dared to attempt such a feat (the group photo at Versailles alone must have been a challenge) is not half as astonishing as that he pulled it off. But the stars, too, are merely a backdrop to funny stories and situations. No one but Altman could make an Elsa Klensch cameo so surprisingly hilarious. The interview about the pouf skirts was just plain funny. But will most of the audience appreciate it? `I doubt it.' Another delight is Altman's pervasive references to clothing, so dominant you will miss half of them. A cab driver, identifying a murderer, tells the police `all white people look alike.' How does he tell them apart? `By their clothes.' Film is confiscated from a fashion shoot, because the murder suspect was inadvertently captured in the background. But his face was cutoff in every shot. `We don't know what he looks like,' the detective complains. `But we know what he was wearing.' Every conversation, every plot, each detail is so thoroughly self-referencing to fashion; but mostly, there are dozens of funny moments. Even the red herring of murder is based on our mistaking an innocent fashion item for an omen of death. Was the above review useful to you?

26 out of 36 people found the following review useful: An amusing shaggy-dog story, Emperor's New Clothes variety from Buffalo, NY 5 January 2005 It's hard to understand why so many reputable critics have vilified this film, which is in Altman's Nashville modeand indeed includes many of the elements that made that earlier film such a critical success. Both address the hypocrisy and viciousness of a big money-making industry, by interweaving a number of loosely connected stories acted by a large celebrity cast. Some of these stories work better than others, in both films; as a previous reviewer noted, in Pret-à-Porter, they all hinge on the central theme of betrayal, with a cumulative effect that is saddening as well as amusing. The principal difference between the two films lies in the way they end. Nashville is closed off (to my mind, unconvincingly) by an assassination at a political rally. Ready to Wear ends with a breathtakingly beautiful, even erotic acting-out of the story of the Emperor's New Clothes, where almost none of the fashion-industry types realize that the bankrupt designer has clothed all of her models in...nothing.

The only one who does get the joke is the clueless and incompetent reporter (Kim Basinger, from Texas, doing a fine retake on Geraldine Chaplin's annoying role in Nashville), who stalks off in a huff. Apparently lots of critics stalked off in a huff, too. That's too bad, since the film has lots of good qualities. But you miss the point if you don't realize that it's all leading up to that big shaggy-dog-story punchline. Was the above review useful to you? 24 out of 33 people found the following review useful: Just some jumbled-up fun from Illinois 2 August 2002 Like everyone else, I note this didn't have much of a plot, etc. etc. But it was just a hoot to watch. I died every time Richard E. Grant came on the screen -- he's a phenomenal character actor. I say, lighten up! This wasn't just satire/social commentary... there was subtle homage to everything from the Marx Brothers to Fellini. In other words, don't analyze too hard; just enjoy!

7/10 from United States 20 August 2006 I've seen it a couple of times. I understand Altman was maybe trying to create a disjointed, farcial almost surreal type atmosphere, but I found the lack of cohesiveness and clear cut thread annoying and it caused me to not care about the film or its characters. Being just a regular jane and not blessed with 15 or so credits in Film-making at NYU, the subtly of the art was lost on me. I desperately wanted just a little exposition to grab onto, and all the film's inside jokes and vague, obscure references to Italian films I found to be self indulgent. I'm not saying this film was bad - just bad for me. I think he could have pulled off the same feel and frenzied little European farce with a TOUCH more connective tissue in the plot. Not a lot, just a little for the audience to care about the story, the characters and whatnot. The thing I found in the film that I even cared more than a fig about was the Simone storyline. Was the above review useful to you? 10 out of 10 people found the following review useful: What do the critics know?

16 August 2006 *** This review may contain spoilers *** I am completely baffled at the bad reviews this movie received. Robert Altman apparently shot first and came up with a story board later, and we are the richer for it. Just as the finale of this romp is definitive statement on the putative subject of the ready to wear fashion week,so this movie is a statement on movie making, and the conclusions would appear to be the same. Altman's confidence in dispensing with the conventions of plot, character development, the classic forms of boy meets girl, boy loses girl, boy jumps off the Eiffel Tower, girl moves in with Godzilla, is as stunning as the final scene. The sheer pleasure of watching Altman's usual suspects perform at the top of their game is enough reason to watch the movie. I will never look at Forest Whitaker and Rupert Everett in the same way. As for Sophia Loren and Marcello Mastroianni, blame it all on pasta. And as for the clothes and the people and the sad old boobs of publishers, frosting on the cake. What a complete visual joy! Was the above review useful to you?

12 out of 14 people found the following review useful: Altman amusingly strips the fashion industry bare 22 August 2001 *** This review may contain spoilers *** This is an entertaining spoof built around a Paris fashion week, and was actually filmed during that event. It's a typical Robert Altman film, with multiple story lines, fast cutting from one setup to another, and overlapping soundtracks, which all make it hard to follow at the cinema, and very suitable for rental so it can be replayed. It would take too long even to begin to summarise the subplots and characters, but in addition to a galactically stellar cast; there's a host of guest celebrities, including lots of couturiers; and of course dozens of models on and off the catwalk, in and out of designer clothes, and in the climactic scene without clothes at all. It is always healthy - both for laughers and laughees - to laugh at powerful people who take themselves too seriously; and by poking fun at the fashion industry and its surrounding media circus, Altman is performing a social service, as well as being a true artist. But I don't find his satire as cruelly biting as some people do.

He treats some characters sympathetically or neutrally - eg the designer played by Anouk Aimée and Marcello Mastroianni's mystery figure. And even the extreme characters - eg Richard E Grant's screamingly gay designer or Kim Basinger's gushing TV reporter - are only a little more exaggerated than some real-life equivalents. The final nude catwalk parade is not only a visually delightful and neat solution to the problem of a designer having lost her collection; but is also a postmodern take on the fairytale of the emperor's new clothes - nowadays, the crooks wouldn't have to pretend they were making clothes for the vain emperor, but would be able to sell him nudity, so long as it had a trendy designer label! Was the above review useful to you? 12 out of 15 people found the following review useful: A highbrow film about dog poop? 4 August 2010 *** This review may contain spoilers *** "I am Diogenes the Dog.

I nuzzle the kind, bark at the greedy and bite scoundrels!"  Diogenes Like most of Robert Altman's films, "Pret-a-Porter" involves a large cast of characters gathering together to put on a performance, in this case a prestigious fashion show in Paris. The film was marketed as a satire, but it really isn't. This is fashion industry as scatology, a "world of sh*t" in which everything is grotesque and warped. As with Diane Arbus' famous photographs on "freaks", Altman deliberately blurs the boundaries between the "ideal" and the "abnormal", the "beautifully formed" and the "deformed", the "feces" and the "sanitary", the "inside" and the "outside". All the characters here are thus "freaks" in some way, all part of the same freakish human circus. There are dwarf attendants and magazine editors, transvestites, cross-dressers, lesbians, gays, the obese, the pregnant, adulterers, illegitimate babies, mortuary attendants, and a multitude of abrasive caricatures.

Mixed in with these are the "ideal" bodies of the celebrities, the exposed unnatural/natural bodies of the models, identical twins who exchange their sexual partners, film-star parodies, television personalities and original film-stars reliving previous roles. Altman then contrasts modern sex icons (Basinger, Roberts etc), with ageing, disintegrating sex icons of the past (Sophia Loren, Lauren Bacall etc), and goes out of his way to tarnish "surface beauty" by imbuing the film's sex bombs with abrasive personalities. The much derided abrasiveness of the film is therefore intentional. Altman isn't just dealing with caricatures, he's dealing with the grotesque. Of course grotesque art is, by definition, "the least ideal form", always a war of "attraction and repulsion". As such, the reoccurring motifs here are dogs, animals and dog feces. More than juvenile poop jokes, Altman's recalling the scatological traditions of Diogenes, the dog philosopher. Diogenes was associated with public outbursts and obscenity. His ragged, unashamedly dirty existence radiated disrespect and contempt for all who gazed upon him.

But while he was an animal, putrid and filthy, he was nevertheless "more civilised" than his "cultured" audience. In a similar fashion, everyone in this film is held under the contemptible gaze of Diogenes, whose mischievous dog feces show scorn for an intrusive and aggressive kind of, not so much modern culture (typified by television, celebrity, photography, fame and fashion  the usual boring targets of satire), but the hypocrisy of all culture. In the film, both television and photography are implicitly connected by characters accidentally stepping in dog feces. These accidents occur in both private and public places, playfully linking the home, studio and streets with a media culture which both intrudes on privacy (exposing shameful human behaviours, foibles and frailties) and disguises these behaviours by glitzing and glamming them up. So Altman is less concerned about the fashion industry, than about what garments and technology alternatively hide and expose, the prevalence of his symbolic doggy poop serving to bring the "high" down "low". Everything is grotesque whether you're on or off the catwalk. The film ends with a nude catwalk scene, one of Altman's most brilliant sequences.

Here, models walk fully nude whilst the words "You're so beautiful the way you are" hum on the soundtrack. The sequence derides the commodification of "beauty", serves as an admittance that humanity is as grotesque as its ornaments/apparels, works as a dig at the fashion industry's obsession with "authenticity" (the true "inner subject/self", the "stripped down ego or essence"), and of course points toward the end result of all fashion-as-fetish-wear: total, naked sex. More than this, though, the sequence suggests that there is beauty in freakishness and freakishness in beauty, which is why a strange aura of both life and death radiates from this sequence. The catwalk models are like clones, cold stick figures, one of which is pregnant. The pregnant model speaks of a mystery about birth and something new, but she is also the least sexual of the models. Conversely, the others are like zombies, dead, crawling out of a tomb, yet are beautifully sexualised. This blurring, this confusion (ugliness in beauty, beauty in ugliness) is the very point of Grotesque art.

Unlike the satirist, the grotesque artist does not analyse and instruct in terms of right and wrong or true and false (satire=logical, grotesque=irrational), nor does he attempt to distinguish between these. On the contrary, he is concerned about demonstrating their inseparability. Satire generally aims at three reactions from the audience - laughter, anger or disgust - but it aims to produce these separately. The grotesque, however, produces a reaction of confusion. With satire, there is an alternation or distinction between laughter and the gross evil which arouses anger. With the grotesque, however, laughter, hatred and anger seem to meld. Beyond this there are references to "Funny Face" and "Blow Up" (guess why), and Altman re-enacts a scene from De Sica's "Yesterday, Today and Tomorrow" with the same actors (Loren and Mastroianni). It's like the two lovers from De Sica's film (itself a film in which Loren and Mastroianni played multiple characters) stepped out of it and resumed their tale 40 years later in older bodies.

Surprisingly, the same lead actors from Fellini's "La Dolce Vita" also appear, adding a dark tinge to Fellini's tale of those seeking "the good life". Tactics like this create a further effect. The characters lose weight, becoming flat, depth-less images. Consider when the real Elsa Klensch is interviewed by Kim Basinger who plays an Elsa Klensch character or when "real celebrities" like Cher and Harry Bellefonte briefly appear but yet still come across as empty, screen representations of themselves. The film paints a world obsessed with the "image", but stresses that there are few "authentic" images. The supermodels of the 90s were clones, destratified personae, simulations of imagined and imagined bodies, part of man's ritualised games of narcissism. By the films end, even a naked repudiation of this narcissism becomes a form of narcissism. 7.5/10  Two viewings required.

from brooklyn, NY 6 May 2006 There's one thing in this film that I love in a very film nerdish sort of way and that is Danny Aiello's character, which is, in a strange way, a homage to an earlier character in Altman's California Split (a film well worth revisiting). And while some of the characters may seem over the top, my own experience in the fashion world would attest to them being pretty realistic. While it feels as fragmented as any Altman, there is a story here, and it's a pretty subtle one, but perfectly satisfactory in my opinion. I think the film, overall, is woefully under-rated. I feel like everyone got caught up in the idea of "ALTMAN" and then got confused by "THE STARS" and then didn't really bother to look at the movie, which has some lovely grace and is well worth the time. Then again, why listen to me, I liked Ishtar. Was the above review useful to you? 10 out of 13 people found the following review useful: Robert Altman rules!

9 December 2005 *** This review may contain spoilers *** This film is messy, disjointed and sprawling just as life is. I loved it so much when I saw it last night on Independent Film Channel, and was amazed that it got such horrible reviews. Oh well most of my favorite movies got horrible reviews. Like most Altman films, this is a compendium of tiny little moments. He gets together an absolutely stunning cast and gives the actors their heads. More an actors' jam session than a movie. For an old Fellini fan like me, the scenes between Mastroianni and Loren are priceless. They are playing basically themselves, this is not a spoiler at all. Vicious, sarcastic, funny as hell, right on target, this is Altman's take on the old folk tale "The Emperor's New Clothes". Nudge nudge, wink wink, say no more. Was the above review useful to you? Page 1 of 6:

Question: Something that is “prêt-à-porter” is ready to what?
Answer: Wear