Inventing Anna Review; This Netflix series, Inventing Anna, has two characters who are both based on real-life people. There is Anna Delvey (Julia Garner), an ingenious con artist who fooled numerous well-connected wealthy persons and prominent New York City institutions into believing she was a European noblewoman who could gather money for charitable causes.
A Russian-born New Yorker, Anna Sorokin had previously lived in London and Paris, where she was able to fit right in with the opulent social circles of the city. After a lengthy 2018 New York Magazine profile by reporter Jessica Pressler, she gained some attention.
However, Pressler isn’t quite the novel’s second most important character. The musical, which is based on Pressler’s article, is co-produced by her. Although Anna Chlumsky plays Vivian, her magazine has been called Manhattan in honor of the actress. Aside from the fact that they both suffered a major professional setback that still haunts them, Vivian’s new name suggests that she is not the same person who penned the New York Times column.
In and of itself, this change isn’t problematic. It’s common for film and television makers to alter the facts of true stories for legal, creative, or other reasons. If Pressler insisted on the change, that’s not surprising, given her relative obscurity. Given that Rhimes and her team did not intend for Vivian to look exactly like her real-life inspiration, it would be unfair to judge Inventing Anna only on that premise.
If you look closely at how the character was constructed, you can see what the storyteller thinks makes a captivating protagonist and why the life of a journalist might need to be changed to be more “dramatic.”
To set the stage for the fictitious German heiress, the show opens with an action-packed scenario set in a printing press, complete with flying magazine covers. Anna Chlumsky’s character from Veep, Vivian Kent, is the show’s protagonist instead of Delvey (Julia Garner), a writer for a fictional New York newspaper.
Kent’s story was inspired by Jessica Pressler,
the New York magazine journalist whose investigative piece helped cement Delvey’s celebrity. Netflix appears to have been unable to get the life rights necessary to tell Pressler’s story, although Hustlers, which was also based on a New York investigative piece, was not.. (Except for the bits that are totally false.)”
Knowing about Delvey’s arrest and thinking that “the indictment reads like a novel,” Kent sets out to learn more about the man’s strange mentality. While pitching the story to her male editors, she discovers that they are unimpressed because their female reporter is expected to cover a tried-and-true feminist beat that is sure to get readers interested in the article’s subject matter.
For concern that spectacular stories about women’s pain will only develop into sensationalism without bringing about any real safety or change, she refuses to join the Wall Street #MeToo movement.
Despite this, she refuses to give up on her goal. Only because they suspect she won’t be able to file before her due date do her editors agree. Even if he doesn’t agree with Kent’s assessment, he thinks that the most important issue is the disparities that exist in the United States’ immigration system.
International wire transfers and the fact that Delvey’s funds were kept in a foreign bank account helped her avoid punishment. Despite paying taxes, nonwhite undocumented workers have faced considerably worse consequences and treatment than nonwhite illegal laborers in the United States. This includes family separation and horrendous incarceration facilities.
The story also illustrates how many people find it difficult to believe that a young,
the attractive white woman could conduct such heinous acts. The millennial generation is at “peak millennial culture,” with the belief that she is too unique to work and express something—probably a lot—about the demise of the American dream.
In addition to spending months living in luxury hotels like the Plaza’s Eloise, Kent is pursuing a career that is filled with beauty and glamour. Even yet, it’s enticing—who knew you could pretend to be wealthy while actually enjoying the finer things in life? Netflix paid the actual Sorokin $320,000 for the rights to her story after she was arrested.
During episodes nine and ten, the characters’ conversation simply serves to exacerbate the problem. After a long day at work, I think one of the authors came home and binge-watched season two of “The West Wing,” because what passes for courtroom banter is straight out of Aaron Sorkin’s grotesquely
bloated playbook of writer horrors, as are the attorney-client conversations and the cross-examination. Who knows what Moayed was thinking after going from Jesse Armstrong and Mark Mylod to long diatribes against the stupidity of Spodek’s client but the fact that he will fight for her, goddammit?
His book “Murder Among the Mormons” argued that his forgeries of significant Mormon Church documents and artifacts were not very impressive, but that everyone he misled wanted to depict him as a mastermind in order to appear less stupid.
The marks of Sorokin are identical.
People are willing to believe anything you say as long as you show off your knowledge of style and art history, unusual mannerisms, and a story about your father’s German/Russian fortune and the $60 million trust fund you’ll inherit on your 30th birthday.
Many of the victims of the fraud never reported it because of their shame, but the story of a nobody from rural Germany who defrauded the rich and famous should be shared as an indictment of money and privilege. It was Spodek’s defense of Sorokin that was true in several ways: his client did what wealthy people do, and others believed her. It’s not Anna Delvey’s fault that capitalism is sick.
Supporting roles are well-played by actors like Alexis Floyd, who plays a hotel concierge, and Anthony Edwards, who plays a lawyer who is loyal to Anna. As Vivian’s senior reporters, the show’s one constant thrill is the wonderful comedy trio of Terry Kinney, Jeff Perry, and Anna Deavere Smith.
This entire story is true,” declares the title of each episode of “Inventing Anna,” a device borrowed from the show “Fargo.” There are only a few pieces that are real. Anna Sorokin has been transformed into a person we can relate to and empathize with because of the fictional elements. She loses interest as she becomes more recognizable as a normal human being.
Throughout the series, Kent and Delvey are both white upper-middle-class women who are fighting against capitalist patriarchy. One cheats her way to the top of the company by faking her way there. Delvey’s lifelong ambition is to open a members-only club in the Soho House manner,
centered on an art foundation with the same name as the club’s members. she promises to have the money once her trust fund is opened at age 25 and she becomes eligible for the monies (but as it turns out, no such fund exists). Kent, like Delvey, is trustworthy, hardworking, and honest, but he has more social capital than money as a journalist. Inventing Anna tells the story of two female bosses seeking to succeed in post-2008 Manhattan.