Reese Witherspoon shows usual grit in ‘Vanity Fair’

Published 9:00 pm Tuesday, August 31, 2004

Reese Witherspoon takes a confident step beyond pixie roles in “Vanity Fair,” a lush adaptation of the classic novel. But when did this actress try anything that didn’t exude confidence?

Thackeray’s venerable novel has had various big-screen (and TV) adaptations, notably the 1935 “Becky Sharp,” which was famed for being the first true Technicolor feature. That film starred Miriam Hopkins, who was bitchier and more brittle than Witherspoon in the title role.

The big-canvas saga begins with orphan girl Becky being dumped in an awful home for children. Grown up into Reese Witherspoon, she’s a smart little dickens with a keen eye for her own survival.

After some bruising experiences with the London upper crust (which looks more like bedrock), Becky manages to attract the attention of a gambler (James Purefoy) with a respectable last name.

Becky’s plans run parallel to her friend Amelia (Romola Garai, the charmer from “I Capture the Castle”), who comes from a good family. Amelia is in love with a cad (Jonathan Rhys-Meyers), but can’t see the loyal devotion of a less dashing friend (Rhys Ifans).

The many social ups and downs of the story are complicated, and eventually wind through the battle of Waterloo. Director Mira Nair (“Monsoon Wedding”) also brings her own emphasis to the story, especially a comparison between the staid English society and the sensual attractions of England’s colony, India.

On the physical level, Nair creates a beautiful, darkly hued world for Becky. Abetted by cinematographer Declan Quinn and composer Mychael Danna, she gets garden parties to blossom and gone-to-seed mansion interiors to crumble before our eyes.

The storytelling is not always as certain. Thackeray’s sprawling book is shaved to 21/2 hours, and feels spotty in the film. The characterization of Becky is perhaps softened and brightened to appeal to a broader audience here, making some of her later behavior less consistent with her character.

Witherspoon’s performance displays the same determination and grit that made her set-jawed women in “Election” and “Legally Blonde” so indomitable. And this southern belle has got the British accent down just fine, thanks.

The cast is one of the principal pleasures of the film. Eileen Atkins treats the role of wealthy eccentric aunt as a piece of red meat, and Bob Hoskins battles an uncharacteristically gallant Rhys Ifans (also in “Danny Deckchair” this week) in stealing scenes.

Gabriel Byrne, as the cruel but rich Marquess of Steyne, looks like a 19th-century drawing come to life. He manages to make badness fascinating, as he’s done before.

“Vanity Fair” gets a little loopy at the end. Thackeray was satirizing his society, and Nair’s approach is more of a disgusted attack on British manners – the revenge of the colonies. It doesn’t quite hold together, but it offers intelligent discourse along the way.