La feria de las vanidades

Some comments did warn me, but the cast led by my favorite actress Reese Witherspoon looked promising and, above all, from the first shots, the set design seemed great. I had a sense of an authentic touch with the distant past. However, with each passing minute, my disappointment grew. The film could have been made as a social drama about an outsider girl who wanted to escape the unattractive prospects of her social class at all costs. Her background and occupation as a governess in an aristocratic family would allow her to become an observer from below with the ability to capture life across all social classes - especially during the exceptional and uncertain period of the Napoleonic Wars when human characters were shaped and many lives were turned upside down. Unfortunately, the film gets lost in the penny-dreadful, which turns promising solutions into banalities and romantic clichés. The director doesn't commit outright atrocities, but she fails to extract a strong and impressive story from this promising material. Comparing it to Bondarchuk's monumental War and Peace, considering the exceptional nature of the source material, may not be fair, but to some extent, it explains my doubts and low rating. Overall impression: 40%. 1 star is for the set design, and the second is for the visual sophistication. (03.02.2016)

Up until now, I've only associated Thackeray in cinema with Barry Lyndon, who is too Kubrick to be Thackeray. But thankfully "Vanity Fair" is a novel that is adapted very often, and this latest version so far is very charming and inspiring. While there was a brilliant 1930s short in the beginning (1911), one sexy modern version with Myrna Loy, and another traditional one in Technicolor with Miriam Hopkins, this one with the charming Reese Witherspoon puts the whole story in an Indian context and tells of all the nice and unpleasant things that befell poor Becky Sharp. Although Becky would never call herself poor, would she? These lavish novels in Empire splendor can really only gain when directed by someone as cosmopolitan as Mira Nair. Yes, the Mira Nair whose Monsoon Wedding meant so much to the revival of interest in Indian film and Indian culture in the West. Basically, I have to recommend it. And if you're still not sure, take your time. I waited a decade for my Vanity Fair encounter and it was worth it. (10.05.2017)

An inconsistent mix of Dangerous Beauty (the breakdown of the main character) and The Age of Innocence (similar characterization of the period), which, however, does not take the best ingredients from either and thus remains somewhere in the middle between a fully-fledged serious drama and a delightful romance. The actors, except for a few moments, are very convincing, with Gabriel Byrne taking the lead, but Reese Witherspoon, who until then had been seen by audiences only as a little pink yapper from Legally Blonde, showed that she can also handle a more serious role without hesitation. Technically, it is flawless, with outstanding costumes, London scenery, and vibrant camerawork. The atmosphere of the Victorian era is masterfully and elegantly recreated, but unfortunately, the content is sometimes quite disjointed and dull. (11.09.2006)

K adaptacím slavných literárních děl zaujímám velmi skeptický, především těch amerických. Souhlasím s názorem, že národní literární klenot může úspěšně natočit pouze ten stát, jehož občanem byl autor onoho díla. Od W.M.Thackerayho jsem bohužel žádnou knihu nečetl, vzpomínám si jen z gymnaziálních let, že byl představitelem realismu v Anglii a tepal šplhounství, kariérismus, pokrytectví, snobství a sobeckost. Jarmark marnosti je jeho nejznámějším dílem a podle filmu soudím, že do něj všechna svá témata zahrnul. Pokud mám tedy hodnotit film neznaje knihu, líbil se mi velmi moc, dialogy byly propracované, několik nadčasových pravd bilo do očí a sešla se zde pestrá herecká sestava. Reese Whiterspoon už pro mě tedy není jen Pravá blondýnka, světice z Nebezpečných známostí a duch z A co když je to pravda?, ale také Rebecca Sharpová, žena inteligentní, bystrá, vzdělaná, ovšem bez urozeného původu, což v Anglii devatenáctého století hrálo velkou roli. Na povrchnost vyšších vrstev chtěl určitě Thackeray poukázat, nepřekvapuje mě, že právě v anglické literatuře vystupuje silná a obdivuhodná ženská hrdinka. Velmi se mi líbila také Romola Garai, ne nadarmo si ji do svého Scoop vybral Woody Allen, ten se nikdy ve výběru herců nemýlí. Rhys Ifans a Jonathan Rhys-Meyers odvedli svůj standard. Takových zfilmovaných klasik bych si dal líbit klidně víc a víc. (16.09.2008)

The trend of converting literary classics into film form is relatively traditional, gaining importance again in recent years, but "Jarmark marnosti" does not completely approach what the film "Pýcha a předsudek" achieved a year later. The period portrayal is good, but the story is not one that completely captivates a person. I do not like Reese and she did not convince me here that she would be any kind of exceptional actress. I am planning to watch "Barry Lyndon" for the second time in the foreseeable future, also an adaptation of Thackeray, and I know that I will have better feelings about it even though it is a film an hour longer. (07.04.2014)