Who needs cash when the lure of credit cards is so seductively accessible? And as for those half-priced Gucci boots? Never a splurge but a wise investment that will be paid off later. It is that very devil-may-care spending attitude that traps financial journalist, Rebecca Bloomwood (Isla Fisher), in a seemingly inescapable snare of debt. Based on the same-named novel by Sophie Kinsella, according to IMDB.com, “Confessions of a Shopaholic” follows the triumphs and toils of Bloomwood’s superfluous spending and the endless debt that follows.

Like many money-conscious Americans, Bloomwood, a New York City journalist, faces the difficult task of pinching pennies in hopes to pay off over $1,600 in debt. The cause of such critically crippling debt? An addiction to shopping. But not just any shopping. From a young age, Bloomwood’s shopping habits fall nothing short of immaculate spending of labels. From Yves St. Laurent to Prada, the shopaholic gets her day-to-day fix from designer boutiques, sample sales and high-end department stores in the heart of New York City. But similar to those who are currently face financial burdens as a result of the on-going recession, Bloomwood is too easily enchanted by the seductive promise of “spend now, pay later” that all twelve of her credit cards boast.

When Derek Smeathe (Robert Stanton), the debt collector, begins making house calls, Bloomwood’s financial crisis becomes the forefront battle in her purchase-plagued life. In order to pay off her growing debt, Bloomwood takes on an uncharacteristic job as a columnist for a savings magazine. It is while working for the magazine that Bloomwood learns the most about smart spending, the importance of truth, love and the difference between value and worth.

“Confessions of a Shopaholic” shows a humorous, yet surprisingly realistic, portrayal of the hardships of debt and the dangers of credit. The film draws audiences directly into Bloomwood’s bank-breaking addiction through the use of talking, mobile mannequins. As she walks past each 5th Avenue designer boutique, the mannequins move towards Bloomwood. The mannequins stroke the $150 scarves and pose in the designer dresses, seducing Bloomwood and convincing her that the outrageously priced designer pieces are an “investment.”

The film takes another creative spin to show the ultimate power that Bloomwood’s addiction has over her (and her wallet). The time sequencing slows as Bloomwood falls in love with each new designer piece. And while the film shows other shoppers floating past the window displays, the camera zooms in on Bloomwood and her reflection against the glass. Her own reflection is cast upon the image of the designer clothing. This is a strong visual metaphor that does a powerful yet subtle job of showing how Bloomwood defines her identity and how she is so intensely caught up in her shopping addiction.
The film also presents some strong thematic devices that carry-on throughout the movie. The downfall of independent, grassroots magazines is seen as conglomerate, big-business, advertisement-filled magazines prosper. And with the goal of making money, it is up to Bloomwood’s newest financial editor Luke Brandon (Hugh Dancy) and love interest at “Successful Savings” to reshape the magazine with strong, personal and investigative pieces without losing sight of the corporate mission: sell magazines. Bloomwood must make the difficult decision between a dream-job, high-end, corporate fashion magazine, and a truth-seeking, investigative magazine that prides itself on its personal approach to readers.

Complete with well-timed humor and sympathetic characters, “Confessions of a shopaholic” is a sharply crafted comedy that displays Fisher’s acting chops. Released at a financially unfortunate and strategic time, the film’s humor goes beyond the basic purpose of entertainment. It portrays the dangers of unmonitored credit and reinforces the values of truth, self-worth and personal identity. Unlike Bloomwood’s uncontrollable, frivolous spending, “Confessions of a Shopaholic” is a wise, comedic investment for moviegoers of all ages.

ELYSE FETHERMAN
ENTERTAINMENT EDITOR