Vanity Fair

I've always meant to read Vanity Fair, so when I saw the poster advertising the film, I decided to go ahead and read it, before watching the film. When I eventually finished the book and watched the DVD, I LOVED it! A lot was left out, but it had to be because otherwise the film would be an overly long, sprawling mess. The film was colourful and vibrant, and so what if Becky wasn't portrayed exactly as she was in the novel? I thought that this adaptation was wonderful, and wouldn't hesitate to recommend it to anyone. Some people might complain that it hasn't stayed true to the novel, but it's still a very enjoyable film in its own right. If you liked Moulin Rouge try this!

I caught up with this film on DVD recently and since I have always been interested in Mira Nair's work ever since her "Salam Bombay", I felt very disappointed in her work in this one. What turned the film suddenly from a tolerable experience into a bizzar one was when Becky surprises us with what is supposed to be an Indian dance is accompanied with a quite recent popular Egyptian song "Al-Salam Alykom" by singer Hakim. Which raises the question ,what kind of research went into such big budget film that can fall into this trap, particularly in a period film. I guess Ms.Mira is fond of "Salam" word in the song . Even the musical instruments used for the song could never belong to the period of the film.Counting on that most western audiences will not notice is a rather silly excuse. On the other hand I assure Ms.Nair that Arabic speaking audiences would burst into laughter once this scene comes on.

You can't blame anyone from India for wanting revenge on those imperialist British bastards, but I don't see why you should take it out on Thackeray. He was just an author; what did he do to deserve such treatment? It's been a pretty long while since I read Vanity Fair, but I'm pretty sure it wasn't about India. If you want to make a movie about India from a book by a British author, Kipling would be a good idea. Or if you want to make a film about India, by all means, make a film about India. I'd like to see more films about India. How about Salman Rushdie? But this is just ripping off Thackeray's novel for revisionist self-indulgence. If you're not going to even remotely adhere to the novel, don't call it Vanity Fair; make your own movie and call it something else. One last thing, Becky Sharp has been utterly defanged for some reason. It's just not Vanity Fair if Becky Sharp isn't something of a conniving, amoral little hussy. That's what makes her interesting and entertaining. Yes, this Becky Sharp is much nicer, but she's also rather dull.

Can a movie ever benefit from a lack of marketing? I wondered this to myself as I sat in the theatre about 40 minutes before Vanity Fair was about to be viewed. As the audience began trickling in, I could not help but notice the age of the paying parties. On average, Joe-Q public consisted on this day of mostly teenage girls anywhere from 13-16 years of age. I knew what to expect in Vanity Fair before the curtains rolled up, so it fueled my query as I wondered if those hard earned teenage dollars knew that they were about to sit through a period piece set in London in early 19th century. I think not. The lack of television overexposure and the fact that corset-wearing aristocrats were not on a Burger King soda cup had me believe that the audience was there (primarily) due to Reese Witherspoon's name which appeared above the title. I did not question any of the patrons at the conclusion of the screening. I did not hide in the lobby to hear their comments. But based on my observations during the dimmed light phase, I think that the movie was generally not what was expected. I base this solely on the number of times these teenage girls left the theatre, either in singles or in hunting packs, for periods of time that was anywhere from a moment to what might end up being a couple of chapters on a DVD. They seemed restless no matter which clique they belonged. They did not get the few but poignant humorous scenes. And when the credits began to show at the films conclusion, they remained in their seats speechless like a child who opens a big box at Christmas only to find a neatly folded sweater sitting at its bottom. Can't blame them really. Directed by Mira Nair (Monsoon Wedding), Vanity Fair was something of a miss. Starring Witherspoon as Becky Sharp, a daughter of a starving artist who seems to fight and claw her way up the social ladder by either being in the right place at the right time or aligning herself with the appropriate aristocrats to push her one step closer to the perch of societal acceptance, Vanity Fair tries to hard for too long to be something that it is not. Possibly wanting to be a softer Dangerous Liaisons, we watch as Becky leaves school, becomes a firecracker of knowledge, marries a gambler, gets propositioned by the Marquess and eventually gives birth to a child that she gives up without argue. Throw in many subplots consisting of overbearing fathers, a love not realized and major characters getting killed in wars throughout Europe, and it might seem like too much for just one film. Nope. Clocking in at 137 minutes, Nair takes her time in having the movie methodically move like molasses going the wrong way on an on-ramp. We jump ahead in time at random (once going 12 years later) in a tired attempt at throwing everything to a wall and hoping that more than a few things stick. Witherspoon will survive. Her comedic wit and attraction to the younger audiences will ensure another hit before long. Whom I feel for is the always-misused Gabriel Byrne. In 1990's Miller's Crossing and again in 1995's The Usual Suspects, Byrne showed us what he could do with good material. As the Marquess of Steyne, he rises above the mediocre role and shines as the helpful but with motive art enthusiast that takes a liking to the young Sharp. His screen time, however, is so long in coming and so surrounded by uninteresting characters and dialogue, that even he can't lift the film an extra half star. So now that it is over, I don't know who was better off – the teenagers who got something that they could probably see in school in a few months or someone like me who went in hoping to see Reese rise to the top of her craft in a career move that seemed timed just right. I think the teens got off easy. www.gregsrants.com

Thackery must be rolling over if he saw this film from wherever he is! Clearly all the money went into the costumes and other frivolities. The script was choppy in turn, makes the acting choppy as well. Did the director even read the book? The A&E version is not to be missed, especially with the beautiful Natasha Little and a very handsome Nathaniel Parker, which was superbly done and truest to Thackery! Very detailed and the circus type music to accompany the ring master who is none other than Miss Becky Sharp! One just cannot understand how casting agents and directors could possibly use an American actress in a British historical piece, especially when she hasn't nailed the accent, which in Ms. Reeses case, was not a believable one! We had to walk out of the theater after a half an hour. What was this director thinking!? What I also found odd, was that Natasha Little who clearly should have been in the lead, had a minor role, along with some other extremely talented actresses,one such as the lovely Meg Wynn Owen who was fabulous in Upstairs Downstairs. The director ought to stick to making films of India and not British period pieces, or maybe next time, at least read the book before taking on a film.

Elegant costumes, beautiful scenery, and piano playing in excess all add to the sights and sounds of Mira Nair's film 'Vanity Fair.' Her 2004 version is one of over ten tries to put William Makepeace Thackeray's novel onto the big screen. Most attempts failed miserably, lacking the magic of today's movies and failing to grasp the themes of the novel. Nair's version, with its visual and audible pleasures, has the potential to become one of the few successful attempts. With humble beginnings as a poor child with a starving artist as her father, Becky (Reese Witherspoon) was determined to overcome her circumstance. She managed to work her way into a governess position in a down-on-his-luck aristocrat. New opportunities arise, and she hastily abandons her post to become the companion to a wealthy woman known only as Miss Crawley (Eileen Atkins). Much to Miss Crawley's displeasure, Becky wastes no time in her quest to climb the social ladder and marries into the family. Becky's new husband, Crawley's nephew, is soon sent off to war. Returning after the battle of Waterloo, their marriage is rocky due to his gambling debts and her never-ending quest to raise her social status. Meeting a man who collected her late father's art, she uses his money and his influence to continue her rise in the social hierarchy, causing more distress to their marriage. Nair attempted to bring something new to the film, using her fantastic creative talents in the costuming and scenery. Her musical choices weren't overwhelming and accented the film rather than hiding behind its beautiful visual aspects. She tried to cover the expanse of the novel, but ending up making a summary of the story and leaving the characters bland and undeveloped. Nair intentionally portrays Becky as a victim of the social system, showing her as merely taking advantage of circumstantial events. This contradicts harshly with Thackeray's Becky, who is manipulative and cunning, turning circumstantial events into anything that will benefit her rise up the social ladder. This movie is beautifully made and had the potential to become something great, but Nair's overly eager attempt leaves it as nothing more than another mediocre film. Had she paid as much attention to the plot and the characters as she did to the audio and visual aspects, this would definitely be the best film of the year. But she didn't, so don't waste your seven dollars to see it in the theater. Wait for the video, or better yet, wait for that one Friday night when you are home alone and it comes on cable.

I didn't read the book, though it was one of the Director's favorites from her high school days. Which means her departures weren't ignorant but intentional. Many of the movies in my small library are some of the best of film literature that we have, so there is a great appreciation for it on my part. But I don't think it impossible to make a good movie that differs from the book. Apparently this one, like so many - does. The movie is sumptuous, and beautifully so. It is, as I'm sure others have said, a feast for the eyes. I found it to be most excellent in every way, including both Reese Witherspoon as the lead, and the events coming full circle to a happy ending. If you enjoy the best of Merchant-Ivory, Jane Austen, Emily Bronte, or any other well made period piece - I can't imagine you not enjoying this. It is well worth the watching. Since the entire production crew was a gaggle of women (I say that lovingly), there are visible elements of underlying political and social commentary favoring the feminine. Which is simply an observation, diverging from Mira Nair's small denial to the contrary. It was well written, well acted, well shot and well directed. I've enjoyed it immensely, several times, and will several more . . .

I had the somewhat unfortunate job of accompanying two teenage girls to my viewing of Vanity Fair. As any cinema attendee will know, there is nothing more irritating then two talkative teens, with the attention span of goldfish, chatting throughout the entire film. All their interest was well gone by the time Gabriel Byrne strutted onto the screen, and although it pains me to admit it, my interest had slowly subsided with theirs. Although beautiful shots, skillful performances and magnificently designed sets came bountiful, there was still one vast absence that was so dearly missed. This was the charm, the charisma and the fascination that connects the audience with the characters. The scenes didn't fuse well and felt shabbily thrown together. Acknowledged events came as surprises and characters lost their appeal and distinctiveness. Becky Sharp, played by Reese Witherspoon, became aggravating and tedious, and any sympathy, understanding or patience for that matter, was lost to a plot so drawn and witless, it made 'Charlie's angels' seem thought provoking. The charm and the magic of the William Makepeace Thackeray novel were forgotten in this drawn and soulless remake of a classic. Worth the watch for the costumes and set alone, but expect nothing more.

William Thackerey's "Vanity Fair" has been adapted for the screen and television in numerous occasions. It is almost an impossible task to get a coherent take on a narrative that spans a lot of years and in which a lot happens. This adaptation of the book by Mira Nair with the adaptation by Julian Fellowes, is sumptuously photographed by Declan Quinn, who captures the Regency period in the England at the beginning of the XIX century. Ms. Nair's touch is evident in the way the costumes have an Indian flair as they were brilliantly executed by designer Beatrix Aruna Pasztor. Maria Djurkovic's wonderful production design is also an asset. If anything, this reincarnation of the Thackerey's novel is a joy for the eyes. The rich period in which the action takes place comes alive in the screen as a feast of colors, which in a way, compensate for the failings on the story and in the way Ms. Nair conceived the way she wanted to tell this tale about an ambitious young woman who is the epitome of social climbing. As a character puts in the film, Becky Sharp would be a perfect mountaineer. Part of what is wrong with the film is Reese Witherspoon in the central role. Not that her interpretation is wrong, it's that she doesn't project the character of Becky Sharp with an intensity that another actress might have brought to the role. In part, this might not have been Ms. Witherspoon's fault, but the director's, in the way she guided the key performance. The other failure of the film lies in the last scenes in which one finds Becky in Baden-Baden. Becky, Amelia, and Dobbins, haven't aged one iota. For the sake of realism, a bit of old age makeup should have been applied to these actors, or else, one might believe in the curative waters of that German spa. If it was true, we should be taking the next flight to Germany. After all, if that were the case, it would be the end of plastic surgery as we know it! Some of the best actors of the English stage and screen are seen in various roles. Bob Hoskins, Eileen Atkins, Jim Broadbent, Gabriel Byrne, Barbara Leigh-Hunt, Rhys Ifan, Romola Garai, Jonathan Rhys-Meyer, James Purefoy, just to name a few, do an excellent job in the portrayal of their characters. This "Vanity Fair", although flawed, is not a total failure. Mira Nair shows an amazing talent for being in command of such a large project.

"Vanity Fair" (2004) is an acceptable but abbreviated version of the classic Thackery Victorian period novel which tells of Becky Sharp (Witherspoon), who uses artifice and charm to climb from lowly governess to aristocrat, always able to find a suitable family of peerage or property to use as a rung in her ladder to the top in spite of the tribulations of the time. At just over two hours, this film cannot deal in depth with the many characters in the story and has to content itself with hitting the high points which make for a very condensed telling suited to those who only wish the flavor of the story. Those with a particular interest in Victorian pulp fiction or more expansive dramas should turn to the BBC's 1998 six hour miniseries which offers greater character depth, a presentation much more true to the period, and a very much better cast. (B-)