Vanity Fair (2004)

reviewed by
Karina Montgomery


Vanity Fair
Matinee with Snacks

In preparation for this film, a Georgian period novel which I had not

read, I slogged through the miserable experience of reading William

Makepeace Thackeray's novel on which this film is based. My only

terror, after seeing this delightful, vibrant, and exciting movie, is

that someone will be inspired to read the book after seeing director

Mira "Monsoon Wedding" Nair's and screenwriters Matthew Faulk's and

Julian Fellowes' fantastic and beautiful adaptation of a book

otherwise better forgotten.

A whole essay or thesis could be written on why this book fails its

genre - but then I think about the spate of chick-lit books which are

really modern renditions of this form. Chock full of period-only

references and colloquialisms that probably went out of fashion in

only 10 years, never mind 200, Vanity Fair is just like any

pastel-covered treatise on the romantic trials of the Manolo'ed

smoking fashion editors of today. To its credit, Vanity Fair

introduces the scrabbling, desperate cleverness of Scarlett O'Hara a

few decades early. Enter Reese Witherspoon, comely poster child for

the determined, smart scrappers of all eras, as Becky Sharp, the

ostensible anti-heroine of Vanity Fair who social climbs her way into

notoriety and affects everyone around her, for good and for bad.

She's actually far more sympathetic on screen than she is in the

novel, just like Ms. O'Hara.

Nair, Faulk, and Fellowes make better use of visuals to explain the

complex social norms that made Sharp's past and present so

scandalous. In a room of identically gowned, vapid snobs,

Witherspoon blazes bravely in, clad in decadent red, despite all

common knowledge, and rules the room again. Vanity Fair the film is

informed by Nair's unique understanding of the Indian caste system,

and the beautiful aesthetic of her native land. Textures and colors

and feathers and glittery ornaments entrance the eye while clearly

designating character in a way the text neglects to clarify. This

brings new life to a book where beige and slightly less beige are

contrasted as sheer scandal in difference.

Witherspoon herself owns this part and rolls around in it like a

lottery winner in dollar bills on a bed. Even concealing her 5

months worth of pregnancy, she is quick and fit and bursting with

life and energy. The rest of the casting is simply perfect - if

anything it gives away a little too much character too soon, in the

case of (Rhys-davies?) as George Osborne. Rhys Ifans gets the meaty

role of Dobbin and eliminates Notting Hill's Spike from our minds

once and for all. Everyone is perfect, perfect. Makepeace

Thackeray's book is heavy with class-specific dialogue and again,

screenwriter XXXX turns the period slang into character tics that are

tangible to us modern audiences. It's a real feat to see. The

writers also slice up the film perfectly and to its essence while

adding new elements that make this film truly its own work of art.

Another brilliant Focus Features entry. Honestly, is there nothing

they can't do?
-- 
~~~~~~~~~~~~~~~~~~~~~~~

These reviews (c) 2004 Karina Montgomery. Please feel free to

forward but credit the reviewer in the text. Thanks. You can

check out previous reviews at:

http://www.cinerina.com and http://ofcs.rottentomatoes.com - the

Online Film Critics Society

http://www.hsbr.net/reviews/karina/listing.hsbr - Hollywood Stock

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