#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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.
Plot: Beautiful, funny, passionate, and calculating, Becky is the orphaned daughter of a starving English artist and a French chorus girl. She yearns for a more glamorous life than her birthright promises and resolves to conquer English society by any means possible. A mere ascension into the heights of society is simply not enough. So Becky finds a patron in the powerful Marquess of Steyne whose whims enable Becky to realise her dreams. But is the ultimate cost too high for her?
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|6.2/10 Votes: 21,274|
|5.7 Votes: 257 Popularity: 7.926|
Both a visual feast and a well-told, heartbreaking story
‘Vanity Fair’ is the perfect title for this story, showing us a world of cold characters with impersonal motives; a world where marriage is just another move in a chess game where the opponent is poverty and, perhaps more importantly, unpopularity. At the center of this movie is Becky Sharp (Reese Witherspoon), a beautiful blonde from a terribly poor family (her father was a talented but poor artist). We meet her first when she is a young girl, and we see that she is already stubborn and manipulative, when she demands ten guineas for a portrait of her mother that is being sold to a wealthy aristocrat (Gabriel Byrne) for four. He agrees, probably not because he thinks it’s worth it, but because he admires the fire and spirit in the young girl. He’ll come into play later.
We see her next after completing finishing school and being sent off to be a governess for Sir Pitt Crawley (Bob Hoskins), a scruffy old man who’s just barely getting by, with a dusty mansion and rude servants. She leaves for Pitt with her friend Amelia (Romola Garai), who is engaged to an officer George Osborne (Jonathan Rhys-Meyers). Amelia’s engagement does not stop her from talking to Becky about the benefits of marrying a wealthy man, and it is here that we first see the mindset of most of the women in the film. Since they don’t have many promising career prospects (those were for the men) they want to seduce a rich man to gain wealth, and popularity, and happiness too, I guess.
And Becky is great at playing the game. When she stays with Amelia’s family in London before going to the Crawleys, she meets Amelia’s awkward (and heavy) brother (Tony Maudsley), a wealthy man from India, and starts a seduction that is in a way kind of obvious, but she knows that the insecure Joseph couldn’t possibly see through it. And he doesn’t, he wants to marry her, and she wants that, but it’s George who talks him out of it.
So, Becky is finished with her detour and moves to the Crawley’s, where she teaches his kids perfect French and even cleans up the mansion when his wealthy sister Matilde (Eileen Atkins) arrives. Matilde is an undeniable snob who claims to have a romantic heart, but with mean put-downs ready for everyone in the house. She takes a liking to Becky for her own cleverness and invites her to live with her and her nephew Rawdon Crawley (James Purefoy) in London. Becky accepts, of course, it’s another step up.
So, she is back in London and reunites with Amelia, George, and George’s soldier friend William Dobbin (Rhys Ifans). She also recognizes Matilde’s neighbor, Lord Steyne, the man who bought her mother’s portrait all those years ago. She’s back in the game, but she falls prey to her heart and elopes with Rawdon, angering Matilde enough to cut Rawdon out of her will (she loves romantic stories, she says, but not in real life!).
Becky hasn’t been completely consumed by her love, though. She still has that cunning agenda of her own, which includes getting pregnant in hopes of gaining sympathy from Matilde, and attending all the major parties, shows and banquets in London despite her lower class.
But Rawdon is a gambler and their wealth and public image starts to drop significantly. This is when we see the extent of Becky’s agenda, when she accepts Steyne as her mentor, despite his A) being a horrible man and B) clearly wanting Becky for his bedroom, not his student. But Steyne is seductive in his own right, and buys Becky the most expensive and beautiful jewelry, shows her to great parties and even casts her as the lead in a dance show he directed. Their relationship is one of the most intriguing points of the film, kind of similar to that of Fast Eddie Felson and Bert Gordon, and Laura Hunt and Waldo Lydecker.
Despite most of its characters being cunning and sinister, ‘Vanity Fair’ is a distinctly moral movie. Pitt Crawley Jr. (Douglas Hodge) is awkward and kind of dull, but his honesty and kindness gives him a stable, happy life, and Joseph’s own earnestness pays off for him in the end. But the most important is the story of William Dobbin’s undying love for Amelia, and how he’s so gentlemanly about it. He doesn’t urge her into adultery, and when she mistakes a piano he’s bought for her for a present from George he doesn’t correct her. I won’t say how this story ends, but it’ll most likely pull a tear from the girls in the audience. Ifans’ is a fantastic, heartbreaking performance, the best of the movie.
Mira Nair’s direction is awesome as well, what other director could make a passable (even good) glittery, belly-dancing scene in a Victorian drama. The Oscar for costume design will most certainly go to this, and its set design makes the best competition to ‘The Terminal’ so far this year.
As for acting Oscars, well, the way the movie switches from story to story doesn’t quite let us get to know most of the characters, but some great performances can still be found here. Particularly Rhys Ifans, whose performance is so quiet and strong, and Eileen Atkins, who is perfect and hilarious, a true scene-stealer of her performance (and maybe even Byrne, too).
And then there’s Witherspoon, in one of her best performances as Becky Sharp, the girl who, after learning her lesson by the end, is so stubborn that she’s at it again, 7.5/10.
Too long and too much to stick to the wall
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.
Original Language pt
Runtime 2 hr 21 min (141 min)
Director Mira Nair
Writer Matthew Faulk (screenplay), Mark Skeet (screenplay), Julian Fellowes (screenplay), William Makepeace Thackeray (novel)
Actors Gabriel Byrne, Angelica Mandy, Roger Lloyd Pack, Ruth Sheen
Country USA, UK, India
Awards 2 wins & 5 nominations.
Production Company USA Films, Focus Features
Sound Mix DTS, Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arricam LT, Cooke S4 and Angenieux HR Lenses, Arricam ST, Cooke S4 and Angenieux HR Lenses, Arriflex 435, Cooke S4, Angenieux HR and Revolution Lenses
Laboratory DeLuxe, Hollywood (CA), USA
Film Length 3,876 m (Germany)
Negative Format 35 mm (Kodak Vision2 500T 5218)
Cinematographic Process Super 35
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383)