Vanity Fair (2004) 720p YIFY Movie

Vanity Fair (2004)

Vanity Fair is a movie starring Reese Witherspoon, Romola Garai, and James Purefoy. Growing up poor in London, Becky Sharp defies her poverty-stricken background and ascends the social ladder alongside her best friend, Amelia.

IMDB: 6.20 Likes

  • Genre: Drama |
  • Quality: 720p
  • Size: 1.70G
  • Resolution: / fps
  • Language: English
  • Run Time: 141
  • IMDB Rating: 6.2/10 
  • MPR: Normal
  • Peers/Seeds: 2 / 7

The Synopsis for Vanity Fair (2004) 720p

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 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.


The Director and Players for Vanity Fair (2004) 720p

[Director]Mira Nair
[Role:]Romola Garai
[Role:]Reese Witherspoon
[Role:]James Purefoy
[Role:]Jonathan Rhys Meyers


The Reviews for Vanity Fair (2004) 720p


Social climbingReviewed byjotix100Vote: 7/10

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.

Too long and too much to stick to the wallReviewed bygregsrantsVote: 2/10

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

Curry-Flavored Thackeray With an Incongruous LeadReviewed byEUyeshimaVote: 6/10

In many ways, director Mira Nair is a daring, imaginative choice to helm this latest film adaptation of William Makepeace Thackeray's classic novel of social mores in early 19th century England. But the end result of her vision is on the whole, rather disappointing. What could have been an energetic distillation of the book's themes turns into a lengthy episodic movie suffering from poor pacing and softened characters. It is a feast for the eyes though, as it appears Nair is intent on bringing her native India into the film as much as possible from the brightly colored period costumes to the contemporary-looking exotic dance at the Marquess of Steyne's party (with very anachronistic Rai music in the background) to the happy ending atop an elephant in Jodhpur. All these references remain true to the Calcutta-born author's story, and actually they feed into the English imagination of what India meant to them at the time. At the same time, the images are too overwhelming to make the basic story of Becky Sharp resonate as it should. Her evolution is the heart of the story, as she moves from finishing school outsider to resourceful governess to brave captain's wife to fallen woman in a casino. It's a long, rocky journey, almost too long for a 137-minute movie to bear as it turns out. Nair, however, also has a good handle on the comic banter among the characters, and it certainly helps that she has assembled a "Who's Who" of British stage and film in all the roles except the primary one.

As Becky, Reese Witherspoon gives it a valiant effort and perfects her British accent to Gwyneth Paltrow's standards, but she seems to be channeling a hybrid of her Elle Woods ("Legally Blonde") and her Tracy Flick (in Alexander Payne's "Election") by way of Kate Winslet in "Sense and Sensibility". When facing down her opponents in her climb upward, especially in the early scenes, the performance seems right. But when her character takes on Scarlett O'Hara dimensions in wartime suffering and acts of betrayal, she seems young and overwhelmed, and her reactions come across as too modern to be true to the character's evolution as intended. This anomaly results in a Becky Sharp who is not so much an ambitious social climber but a plucky heroine for the underclasses, a textbook example of a Tony Robbins motivational seminar. This transformation may seem endearing to those looking for nicely wrapped tales of triumph against all odds, but it doesn't lend credibility to the more pointed satire and harsher criticisms that Thackeray had in mind when he wrote the book. For example, Becky's gambler husband, Rawdon Crawley, is really more of a ne'er-do-well whose departure in the story should be viewed somewhat as relief, but as played by James Purefoy, he is a romantic figure who is guilt-ridden over his failure to provide for his family. The change could have been acceptable were it not for the fact that his character is discarded in an almost matter-of-fact way. The same sketchy treatment is given to Becky's only friend, Amelia Sedley, played by Romola Garai, who is set up as a contrast to Becky and comes across as a wet rag for much of the story. But the film transforms her into a brave widow whose romantic resolution at the end strains credibility. Somehow Purefoy and Garai acquit themselves admirably regardless.

There are many fine performances in the smaller roles. Worth mentioning are Jim Broadbent as roguish George Osborne's unforgiving father, Bob Hoskins as the clownishly pitiable Sir Pitt; Gabriel Byrne as the territorially devious Marquess of Steyne, and Geraldine McEwan's helium-voiced Lady Southdown. Best of all is the mordantly witty Eileen Atkins, who seems to understand the tone of Thackeray's story better than anyone else, and lends a dotty authority to the role of Aunt Mathilde, serving as the primary catalyst of Becky's social escalation much to her later regret. Great acting aside, the film's length does have a wearing effect since the climax does not bear the emotional weight of everything that has gone before it, and unfortunately the plot strands get wrapped up much too quickly at the end to make the story truly resonate. That's a shame since there is so much creative energy obviously at work here.

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