What exactly is the point of September Issue? A ‘behind the scenes’ delve into the anatomy of Vogue magazine, we cannot recall another expose with so little dirt to dish. In fact, we can name a bunch of films made directly under Goebbels that were less compromised than this one. Content to rub shoulders with Anna Wintour, Vogue’s editor and ice queen in res, this nauseating parade of sycophants, lickspittles and celebrity well-wishers makes for the gummiest of bites at the easiest of targets. Perhaps we’re simply spoiled in this regard. We’re so accustomed to watching high-ranking fashionistas being lampooned for our amusement – in everything from Absolutely Fabulous to Bruno – that real life was always going to come up short.
Admittedly, there’s a decent narrative hook at play here. Ms. Wintour, a To The Manor Born sort of gal, is positioned as wicked stepsister to Grace Coddington, a fellow Brit and contemporary who quit her Carnaby-era modeling career following a disfiguring accident. Ms. Coddington is currently Vogue’s creative director and, according to September Issue, the closest thing to a voice of dissent in the ranks.
Ultimately, however, there are only Yes Men here and this includes the film crew. Even Ms. Wintour’s flunkies are prepared to use euphemisms like ‘inaccessible’ and ‘intimidating’. The filmmakers respond with inane softball enquiries: “Is Anna the high priestess of fashion?”
This is a fashion TV special without the edge. On more than one occasion we’re told, “Nobody was wearing fur until Anna put it on the cover”. Does the director respond with the appropriate volume of vomit? Nope. This gem goes entirely unchallenged.
The principals are neither made to squirm nor granted enough rope to hang themselves. There’s at least one Borat in the office and plenty of ridiculous surgery but the camera consistently pulls back before we get to have any satirical fun.
Frustratingly, one senses the fur and feather spitball fights happening just off camera, but RJ Cutler’s film rarely deviates from the party line. There’s a lesson here for all aspiring filmmakers. If you’re negotiating for access to wily people like Anna Wintour don’t give away your entire film in the process.