BECKY SHARP is set during the Napoleonic era. When the film begins, Becky is leaving finishing school and the headmistress is thrilled to see her go. Becky, for her part, feels the same and unlike the demure ladies of the time, she tells the headmistress where she can put her school!! But, like a cat, she lands on her feet—being taken in by a rich classmate. After wrangling this invitation to stay with this rich lady, Becky then works hard to snag a rich husband. Instead, she does manage to marry a minor member of the gentry—but he cannot afford the rich ways of his new wife. Eventually, he tires of her whore-like ways and divorces her.
Becky, now broke, is forced to work in the lower quarters of society. But, once again, she manages to find a rich guy (Nigel Bruce) to bail her out and once again she begins scheming her way to the top. And, by the end of the film, Becky hasn't learned any lesson about life other than "look out for number one"! This film is the Thackery novel "Vanity Fair" and it's been made several times. What makes this one of some importance is that this was the first full-length film made in Three-Color Technicolor—the first true color process for movies. While Two-Color movies had been made since the early 1920s, they lacked full color as the color strips were blue-green and orange-red—resulting in a film that tended to actually look more orange and green than anything else (though there were a few exceptions where the colors actually looked pretty good—such as in the color segment in THE PHANTOM OF THE OPERA). Despite the major technical improvement with BECKY SHARP, it, too, looked rather muddy and orange. This is NOT due to the age of the print, as people at the time commented on its rather limited color palate. But, the process was roughly that of future full-color films and it is the first of its kind.
The story features the shallow but scheming Becky (Miriam Hopkins) working her way through society in order to further her great ambitions. To do so, she lies and plots continuously and she's quite good at it! However entertaining this is, it is also the biggest problem with the film. Because Becky is generally a selfish jerk (though not always so), it's hard to care about her and the film rests mostly on its costumes and full-color. As for Hopkins' acting, it's one of her best performances—though it is a tad two-dimensional—mostly due to the writing, not her acting. Had they made Becky either MORE evil and conniving (like Bette Davis in JEZEBEL or THE LETTER) or LESS, it would have improved the film immensely.
Overall, a rather forgettable costumer whose sole reason to watch it is the use of Three-Color film. Other than that, fans of Miriam Hopkins (both of them) might want to see it, as it's among her best performances—mostly because it doesn't call for a lot of restraint or subtlety.
Becky, now broke, is forced to work in the lower quarters of society. But, once again, she manages to find a rich guy (Nigel Bruce) to bail her out and once again she begins scheming her way to the top. And, by the end of the film, Becky hasn't learned any lesson about life other than "look out for number one"! This film is the Thackery novel "Vanity Fair" and it's been made several times. What makes this one of some importance is that this was the first full-length film made in Three-Color Technicolor—the first true color process for movies. While Two-Color movies had been made since the early 1920s, they lacked full color as the color strips were blue-green and orange-red—resulting in a film that tended to actually look more orange and green than anything else (though there were a few exceptions where the colors actually looked pretty good—such as in the color segment in THE PHANTOM OF THE OPERA). Despite the major technical improvement with BECKY SHARP, it, too, looked rather muddy and orange. This is NOT due to the age of the print, as people at the time commented on its rather limited color palate. But, the process was roughly that of future full-color films and it is the first of its kind.
The story features the shallow but scheming Becky (Miriam Hopkins) working her way through society in order to further her great ambitions. To do so, she lies and plots continuously and she's quite good at it! However entertaining this is, it is also the biggest problem with the film. Because Becky is generally a selfish jerk (though not always so), it's hard to care about her and the film rests mostly on its costumes and full-color. As for Hopkins' acting, it's one of her best performances—though it is a tad two-dimensional—mostly due to the writing, not her acting. Had they made Becky either MORE evil and conniving (like Bette Davis in JEZEBEL or THE LETTER) or LESS, it would have improved the film immensely.
Overall, a rather forgettable costumer whose sole reason to watch it is the use of Three-Color film. Other than that, fans of Miriam Hopkins (both of them) might want to see it, as it's among her best performances—mostly because it doesn't call for a lot of restraint or subtlety.