If you're feeling a lack of non-blockbusters to chill out the last days of summer - and you still haven't seen "The Devil Wears Prada" - this one's for you. Not only can you ogle the incredible couture clothes and bags that are everywhere in this fashion microcosm - you can also take part in a photographic scavenger hunt.

In an unusual product placement for the visual arts, production designer Jess Gonchor consulted with New York art dealer June Bateman to build an on-screen photography collection that reflects the style and taste of the title character, the high-powered fashion editor Miranda Priestly. When seated in her exquisite office suite at Runway magazine, an elegantly moody portrait by photographer John Goodman can be seen behind her desk. As you watch the movie, try to find three more of Goodman's eclectic black-and-white images.

Miranda's photography collection is, in fact, a collection selected by Meryl Streep, who plays the character with icy elegance. Director David Frankel ("Sex in the City") decided "to explore Miranda's relentless pursuit of excellence in a serious way." He goes on to say, "There are lots of famous women who are successful on the level of Miranda Priestly, and it is very easy to criticize them because they put their work first," Frankel continues. "Men are rarely criticized for that."

Jess Gonchor ["Capote," "Kate and Leopold"], created the Runway offices, Frankel says, to express "the real Miranda's" style by working closely the actress, on everything from the selection of furnishings and paint colors to the photographs on the walls of her inner sanctum. "It was important to show photographs that Miranda had 'collected' as great works of art because she's all about the pursuit of excellence, no matter the cost," he added.

Film critic David Denby writes, "Runway is the engine of desire-not the desire for sex, which the movie regards as relatively unimportant, but for power and for very beautiful things. The severity of the movie's good taste is awesome; the production design features the chaste beiges and whites of impervious authority. The cars-silver or black Mercedes sports sedans-match the insolent panache of the clothes (Bill Blass, Dolce & Gabbana, Prada) assembled by the costume designer, Patricia Field."

John Goodman, a photographer who has bridged the worlds of art and commerce in a seemingly effortless way, is based in Boston, MA. View his work at goodmanphoto.com.

Read David Denby's review in The New Yorker.

Photo: Barry Wetcher for Twentieth Century Fox (c)2006