Becky Sharp is a woman who came from very little, but who always had her ideals. This version of Vanity Fair follows her from childhood to school into marriage, her rise into the British aristocracy and what came after.
Based on the novel by William Makepeace Thackeray, with a script by Matthew Faulk, Mark Skeet, and Julian Fellowes, Vanity Fair is directed by Mira Nair. This is a film that most definitely needed a touch like Nair’s, who’s previous films showed incredible talent and an eye for visual sequences, which here needed to be a feminine touch. The way she brings the life of Becky Sharp to the screen here is stunningly beautiful while also allowing the more emotional and difficult situation to unfold fully on the screen. Scenes like a pregnant Becky looking for a ride while her husband is called to the front and where she has to be strong for her best friend who the kind of direction Nair can provide and how she can bring an emotional scene to the screen beautiful. On the other hand, the sequence where The Marquess of Steyne is confronted by Rawdon Crawley over Becky is done with a strength that brings completely different emotions from different actors and characters. Her work in this film is on point, powerful, and emotionally grabbing.
The cast here is exceptional, starting with Reese Witherspoon being the perfect Becky Sharp. After quite a few other adaptations of this book, bringing the character to the screen in the best way was not going to be an easy feat, yet here it is, possibly the best interpretation of the character at that point (not having seen the new television series about Sharp, judgment as to this being the best ever cannot be made). Her work here is what the character needed and she attracts the eye in every single scene she is in, letting no one steal a single scene from her. Playing the Marquess of Steyne is Gabriel Byrne who gives one of his trademark strong performances. The same can be said of James Purefoy as Rawdon Crawley. The film here is filled with strong performances from actors most are familiar with, bringing quite the ensemble to the screen. Having every single performance here feel like it’s on point and perfect for the material is something that leads back to director Mira Nair and her capacity to put together films of the highest quality.
Also, more than worth mentioning is the wardrobe. It is, simply put, exquisite. The quality of the fabrics and how the clothes are clearly made to be both period appropriate and beautiful no matter the piece or what it’s used for, the costumes by Beatrix Aruna Pasztor are more than worthy to be in this film. The way these add to the story and to the characters is just right here. Another strong aspect of the film is the cinematography by Declan Quinn which is lush and beautiful, showing attention to details and how to best showcase all the artists at play here.
Vanity Fair is a great showcase for Mira Nair’s talent and for that of just about everyone involved. Nair stirs a massive ship here and does so with great talented. The film is one that gains from being viewed multiple times over the years and that has aged beautifully well. The period décor, the costumes, the script, direction, and performances all come together beautifully to create a great adaptation of a novel seen more than once before on the screen.
