Vanity Fair

Vanity Fair (1967) was a BBC TV mini-series directed by David Giles. The script was based on the novel by William Thackeray.

Thackeray's novel--written in 1847-184--is a satire in which he exposes the underside of English social life of his day. In fact, the subtitle was "Pen and Pencil Sketches of English Society."

The novel is set during the Napoleonic wars. The plot is somewhat complicated, so, if you don't know the novel, I'd suggest reading a summary of it before you see the film. Basically, it follows the lives of two friends, Becky Sharp and Amelia Osborne after they leave boarding school. Sharp has no money at all, and must live by her wits. Amelia comes from a reasonably wealthy family, but they suffer financial setbacks and--ultimately--bankruptcy.

Any movie adaptation of Vanity Fair will rise or fall on the skills of Becky Sharp. In this film, Susan Hampshire portrays Becky, and she is excellent. The role of Becky needs to be played by someone who is beautiful, and Hampshire qualifies on this dimension. However, Becky must not only be beautiful, she must also be intelligent, witty, and, when necessary, deceitful. Hampshire was born to play Becky.

Amelia is Becky's opposite. She's also beautiful, but she's shy, demure, and not as smart as Becky. Marilyn Taylerson does well in the role. I've never seen her on screen before, but I think she was very talented.

Because this is a BBC movie, production values are high. The film was made for television, it works well on the small screen. As I write this review, the movie is carrying an excellent IMDb rating of 7.5. (However, there are only 40 ratings so far.) I strongly recommend that you see this movie. (Also, that you rate it after you see it.)

I've wanted to see this version for years , having been a Hampshire fan since watching the original broadcast of The First Churchills ; I was not in the least disappointed . Now even at three hours and thirty-eight minutes some parsing was necessary for such a long novel , but this was done so carefully that nothing is lost in the basic flow and essence of the book and the most important scenes receive all the time and attention to detail they deserve . An important but easily overlooked element is the lack of a running musical score , allowing the cast to shine without distraction ; this was standard BBC practice for dramatizations of classics during the 1960s and '70s . This especially adds pathos to the superbly detailed scenes pertaining to the Waterloo Campaign , in marked contrast to the inappropriate use in the the same scenes of an awful score created for the very well acted 1998 version . Nothing superfluous detracts in any way from this masterpiece : If you enjoyed the novel , you will enjoy this performance . I can hardly say enough for Susan Hampshire's portrayal of Becky Sharp throughout .

Vanity Fair was I think BBC's first colour serial, made in 1967 with Susan Hampshire and Roy Marsden, both looking impossibly young, as Becky Sharp and George Osbourne.

Thackaray's novel is set in the Napoleonic Wars and cries out for colour and life, both of which this five parter delivers. From the opening with a puppet show to lovely performances, largely from actors now forgotten, this adaptation is very good and wears its age well.

As Becky, Susan Hampshire isn't as obviously scheming as Eve Matheson was twenty years later, but she radiates charm with a knowing smile. It is an interpretation of the character which works well.

I have never seen Vanity Fair before, nor had I read the book before seeing this. So I came to this intrigued and unaffected by whether it followed the book closely. I may add that it does change a couple of bits and does not end it where the novel does, but that I felt was to it's benefit. What is apparent however is that with it's glorious colour - the first programme ever to be seen in colour on UK TV - it also shows up it's shortcomings and limitations.

The plot concerns Becky Sharp (Susan Hampshire), an impoverished orphan who leaves Miss Pinkerton's Boarding School with friend Amelia Sedley determined to break away from the poverty she has known. Amelia kindly invites her to stay with her and her wealthy family, where she soon attracts the attentions of her brother Jos and encourages his infatuation in the hope of marrying into money. Amelia is also engaged to be married to the arrogant and wealthy George Osborne (no, not that one), a soldier in the cavalry, but whose father is none too happy about him marrying. However, if you think it's all going to be so simple for Becky you'd be wrong. It's far from easy for her, as this happy little arrangement is thrown up in the air when Amelia's father becomes bankrupt, leaving the family to sell up and Becky forced to find lodgings (and employment) elsewhere. That place is working as governess for a Mr Crawley (a wonderfully seedy John Welch), but far from the glamorous mansion she hoped to live at it is a run down estate with a lecherous employer who pinches her bum within a minute of meeting her.

I think what I liked about this drama was the fact that it is never as simple for Becky in her attempts to climb the social ladder as she hopes or thinks. And what was more appealing is that Susan Hampshire does not make her as openly scheming or manipulative as her character is supposed to be in the book - not until the latter stages at least. Indeed Hampshire, despite the character's plotting and ambitions, does a remarkable job of keeping her likeable and engaging, which only helps in sticking with a story that involves a character whose one ambition is to enjoy wealth. That is due to the fact that Becky's struggles to maintain that position are many, as well as the fact that she has come from abject poverty and sneering contempt by her so called betters. She has to contend with the lecherous advances of Mr Crawley without seemingly offending him, as not only is he her employer but is wealthy and could yet be useful in her bid to better herself. And it is not the only suitor she has to contend with as she tries to sum up who may be the best candidate for a husband. But even when she thinks she's got it made, events conspire to deny her the easy fortune she planned - though her own frivilous spending only adds to the predicament she eventually finds herself in, along with a bad choice in marriage.

However, this adaptation is almost nobbled by the opening episode. Episode One flits about so quickly, with so many quick cuts and speed of the story that it nearly put me off continuing with the remainder of the series. Within the first 10 minutes of the story it had jumped from Becky and Amelia leaving Boarding School to meeting her family, her lovelorn brother Jos falling in love with her and then proposing marriage. There is no chance of stopping for breath, and plot jumps from scene to scene within a blink of an eye, but also little chance of getting to know the characters or for the story to develop at a pace where we can believe in Jos' love for Becky. By 20 mins the engagement is off after a drunken party, the family is declared bankrupt and Amelia's own engagement to George Osborne is at risk due to his father's dislike of him marrying into a bankrupt family. It's not often that you describe a period drama as being too quick, especially one from this early TV period, but this first episode certainly is and could of taken more time in settling in the characters. It also suffers from it's production limitations, made obvious by the colour filming, which shows up the studio sets painfully so. I know TV was limited in funds back then and what they could do, but if you are to judge a serial honestly then it has to be said some of the sets look exactly what they are, a little cheap, and there is no way of getting around it.

Despite this, I stuck around for the other episodes and it proved to be an interesting adaptation, held together by Susan Hampshire's performance. The other actors and actresses ranged from good to fair, with Roy Marsden already showing he was an actor of considerable confidence in his portrayal of the arrogant young Captain George Osborne, a man who has to face a choice between love or wealth, and who later comes to regret his decision. I quite liked Bryan Marshall's performance as the decent Dobbin, while Dyson Lovell and Robert Flemying are good too as Rawden Crawley and Lord Stein, both who vie for the attentions of Becky Sharp and who collectively and inadvertently bring about the decline in her fortunes. Less successful was Marilyn Taylerson, a little too sugary as Amelia, though she does improve as the story progresses. And John Moffatt is just a simpering camp caricature as her lovelorn brother Jos Sidley. That said, this adaptation makes for a fascinating watch, a curious museum piece that captures the attention. And although it may cut off from the novel's original ending, I'm quite happy that the makers decided to end it at that point, as it maintains a sense of humanity in Becky that is needed in a story that is basically of a amoral character seeking any means to attain wealth and importance in high society. It may be dated, but if you can get past the slightly off putting first episode it makes for interesting viewing.