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| VANITY FAIR (2004) | |
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Identity usually relates to an individual's parents, the values transmitted by the parents, and the experiences acquired throughout life by the individual.
Peoples' choices of life experience were rather limited in 19th century England where the people were more or less assigned to a spot in society based on who
the identity of their birth parents was. Women's' choices were even more restricted, especially so if the birth parents
had passed away during childhood.
If girls without parents were lucky they ended up in a decent orphanage, and a decent orphanage during the 19th century
was crude and dirty compared to modern standards.
If a woman would try to climb the social ladder it was considered ridiculous and a lack of good
manner. In William Thackeray's novel Vanity Fair the reader can follow the orphan Rebecca ‘Becky’ Sharp struggle to make her life better than it was for her departed father, a talented painter with modest success. Mira Nair undertakes the big task of recreating the fictional masterpiece in a period film where Becky (Reese Witherspoon) decides to climb in society without consideration of upper-class notions. The film goes to great lengths in order to depict the social hierarchy, which is often illustrated through a person's family history. Becky’s awareness of the aristocratic rules is considerable, as she displays social dexterity when she maneuvers the dangers grounds of the upper class. Vanity Fair opens with a scene where the Marquess of Steyne (Gabriel Byrne) walks through a dirty neighborhood in order to get to Becky’s father's studio where he paints. Marquess of Steyne’s intention is to obtain a painting that he had ordered, for the meager sum of four Guinness. Becky, who is just a child at this time, says ten Guinness, as it is a painting of her late mother and she has a strong emotional connection to the painting. Ten Guinness is given to her, which leaves her staring at Marquess of Steyne walking out with the painting. This moment seems to be a crucial part of the film, as it seems to be the source for Becky’s ambition to climb in the social hierarchy and become a part of the rich and known. The story follows Becky’s precise choices and steps throughout her attempt to advance in society. First she tries to sway her friend Amelia Sedley’s (Romola Garai) brother to fall for her, as she sees an opportunity to take her first step upwards. This attempt, however, fails as Amelia’s fiancé George Osborne (Jonathan Rhys-Meyers) tells her brother that it is not proper to try to marry a woman of Becky’s status. Despite Becky’s first failure she is not disheartened as she seeks new opportunity in Sir Pitt Crawley (Bob Hoskins) through who she meets Rawdon Crawley (James Purefoy). Through the Crawley’s she finds a way to advance in society, as she steps into the family circle uninvited. This brings the audience on a journey where Becky is faced with further opportunity to advance, but is also caused much pain and suffering. Vanity Fair is shot in bright and vibrant colors, which is often enhanced by the many flamboyant costumes that the characters are wearing. This depicts a strong sense of vanity and arrogance that exists among the aristocrats during the time when the story takes place. The vanity is also enhanced through the mise-en-scene, which provides insights into what seems to be important. For example, there are wads of bills exchanged between men during gambling, extravagant dresses, and rooms with excessive décor and paintings to display wealth. In many aspects, this is what is expected out of a period film, which can be seen in Vatel (2000) and Dangerous Liaisons (1988). The cinematography is stunning and a pleasure to the eye with its use of colors and camerawork. Nair does a brilliant job in the opening of the film where she uses a peakcock and other symbols for vanity to prompt the audience in the direction of the film. However, the story feels a little too contemporary at times, which does not bring the effect a period film should. In addition, the moral values and lessons of the film seem to dominat through the extensive use of mise-en-scene and what else is within the frame of each shot, which also is purposely done due to the vanity of the society. Nonetheless, Nair offers the audience a good cinematic experience in regards to socioeconomic position in a 19th century society, which is full of insightful notions. |
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DIRECTED BY |
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| Mira Nair | |
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UK / USA |
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| REVIEWED | |
| 2/1/2005 | |
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The Internet Movie Database. |
