An adaptation of William Makepeace Thackeray's classic story of parvenue Becky Sharp's rise from obscure & humble origins to her subsequent ignominious fall from Society; set amongst the ... See full summary »
At 10, Fanny Price, a poor relation, goes to live at Mansfield Park, the estate of her aunt's husband, Sir Thomas. Clever, studious, and a writer with an ironic imagination and fine moral ... See full summary »
Jonny Lee Miller,
Rural Louisiana, summer of 1957, Elvis is King. At 14, Dani is coming of age. Her older sister is beautiful, smart, and off to Duke in the fall; her mom's pregnant with number four (Dad ... See full summary »
The British Empire flowers; exotic India colors English imaginations. Becky Sharp, the orphaned daughter of a painter and a singer, leaves a home for girls to be a governess, armed with pluck, a keen wit, good looks, fluent French, and an eye for social advancement. Society tries its best to keep her from climbing. An episodic narrative follows her for 20 years, through marriage, Napoleonic wars, a child, loyalty to a school friend, the vicissitudes of the family whose daughters she instructed, and attention from a bored marquess who collected her father's paintings. Honesty tempers her schemes. No aristocrat she, nor bourgeois, just spirited, intelligent, and irrepressible. Written by
In the early 1970s Stanley Kubrick wanted to direct an adaptation of this book, but found it to be too big to make it into a three-hour film. He instead made Barry Lyndon (1975). See more »
Becky sings "Now Sleeps the Crimson Petal," a poem Lord Alfred Tennyson wrote in 1847 and appears in the Thackeray novel (1848) on which the film is based.
Because the novel concludes over a decade later (we assume on or before the present day for the author), and young Georgie, born in 1815 or 1816, is still only an adolescent, she would have sung it no later than 1840, which is well before it was published. However, the anachronism is Thackeray's and not the film makers'. See more »
[as Becky plays a piano forte]
So, Miss Sharp. How do you like your new place?
My place? How kind of you to remind me. It's quite tolerable, thank you. And they treat me very well. But then, this is a gentleman's family... and quite a change from tradespeople.
You seemed to like tradespeople well enough last year.
Joseph Sedley, you mean? It's true. If he'd ask me, I would not have said no.
How very obliging of you.
I know what you're thinking. What an honor to have had you for a brother in-law....
[...] See more »
Before the credits start rolling the word "Alvida" (goodbye) appears in Urdu script. Beneath it is the following dedication: for our beloved Ammy Kulsum Alibhai 1927-2003 See more »
Vanity Fair is a beautiful mess. It combines the beauty of elegant costumes, sets and people with the disaster that is Mira Nair's adaptation of William Makepeace Thackery's novel. Not only is the adaptation bad but also so is what Nair has done with it. If you read the book, the movie will break your heart. It has completely ripped to shreds the pages of the classic story.
If you haven't read the book and intend to waste your money on the film, I would recommend that first you read a couple of plot summaries of the novel. Otherwise, you may be very lost through no fault of your own but because there is no defining plot in the film. There are no central conflicts presented and it's not until about two thirds of the way through that you have at least an idea of what is trying to be done here. Even then, it is unclear. Reese Witherspoon plays Becky Sharp, a social climber. Vanity Fair is supposed to be her story but instead, it is crowded by a confusing and unnecessary cast of supporting characters. I suppose Vanity Fair is a story about love but also about how the social class system can create a barrier between people. If this was the intended idea the supporting cast would be needed but Vanity Fair is supposed to be about Becky Sharp and the movie is far too much of an ensemble piece for that to be the case.
Mira Nair's direction is too present. She throws in too much of herself with the scenes about India and actually in India. Where the hell is the point? There just seem to be times when Nair thought it was okay to throw in another shot of an elephant's ass or belly dancers or India food.
Speaking of unwanted, Reese's second child was not credited in the closing credits but is in every scene Reese is. Witherspoon and the crew seemed to think they could hide the fact that she was pregnant by putting her in big clothes but that didn't work. She still looks pregnant and it ruins the effect the clothes should have had. It also puts the movie out of sequence. In one scene Reese is very large and in the next you can only see her belly if you look for it.
Vanity Fair could have been brilliant. The material is there, Reese bring to the table the range that we have come to expect from her and a performance that could have taken her places if it had been used better. But the fact remains that there are too many moments where ends just don't meet and the audience is confused to the point where the film can't rely on its pretty scenery to distract from its larger flaws. *1/2 out of *****
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