This is a sterling example of how the first half of a film can differ considerably from the last half of a film. In fact, I would venture to say that "Vanity Fair" is the only film in the history of international cinema to do so in such an unpleasing and dissatisfying manner. The bottom line is -- while the first half of this film is a cinematic triumph, the last half is a journey into the mundane, ridiculous, and disappointing. So, how does a film take such a drastic U-turn? Don't blame it on the cast and don't blame it on the director...blame it on the script. Well, I guess you can blame the director a little as well.

      Reese Witherspoon (in her best performance to date) stars as Rebecca Sharp. After her artist father dies, she goes to stay at a girls' school, where she learns to speak fluent French and gathers a considerable amount of worldy knowledge. The fact is that she is twice as smart as most of her male counterparts. Romola Garai co-stars As Amelia, Becky's best friend and companion. Becky first goes with Amelia, to her home, where she meets her parents and George (Jonathan Rhys-Meyers), Amelia's boyfriend and future husband. Eventually, Becky leaves and them and goes to work for Sir Pitt Crawley (Bob Hoskins) and his family, who are all plotting to suck up to wicked and vicious Aunt Matilda (Eileen Atkins) so they will be left her vast fortune. There she meets Rawdon Crawley (James Purefoy). They quickly fall in love and are married, as are George and Amelia. Both the wives of soldiers, the story shifts just a bit to feature Rawdon and George attempting to break into the up! per class social circles, while also going off to defend their country. Co-stars include Jim Broadbent as George's merchant father, Rhys Ifans as George's best friend and secret admirer of Amelia, and Gabriel Byrne as The Marquess of Steyne, a collector of Becky's fathers artwork.

      The film turns to shyte at the precise moment of Gabriel Byrne's character re-entering the story. Once he is introduced, what was once a thriving motion picture of love, tragedy, and comedy turns into one ridiculous scene after another. And this is not Byrne's fault -- he gives a terrific and villainous performance. Blame the script and blame the director. Towards the end of the film, when Rawdon catches Becky and the Marquess of Steyne in a compromising situation, most people would certainly think that he overreacts to a spectacular degree. And, when he discovers the money hidden in the desk drawer, he overreacts to a more astonishing degree. It would seem that his character is just as greedy and rotten as all of the others, that he would allow his marriage to end over money. I think that is what makes the film so displeasing at the end -- all of these characters we have grown to admire and enjoy turn quickly into power hungry monsters. Sure, we have been able to se! e them progress towards this, but I guess it all just hits too hard at once.

      I also disliked the fact that the most interesting sub-plots were not given enough attention. I thought Rhys Ifans was extraordinary in his role, and deserves Academy Award consideration. I wanted to know more about his love for Amelia and I wanted to see their romance bloom. I also wanted to see more about the father/son relationship between George and his father. Jim Broadbent also deserves Academy Award consideration for this role, one of his most enjoyable since "Moulin Rouge". Not to mention, it is always a treat to see the gorgeous Jonathan Rhys-Meyers on screen, no matter what the role. The remainder of the supporting cast is just as exceptional; as I said earlier, the cast is not the problem. Blame the script and blame the director.

      Overall, I have to say I cannot recommend this film, for the sole reason that the last half of the film is atrocious. Reese Witherspoon and James Purefoy turn into walking monsters before out very eyes, and they even seemed worse to me that Gabriel Byrne's character. He at least knew that he was cruel, as he even goes so far as to tell Reese Witherspoon on once occasion. Had more attention been paid to the plots we enjoyed and less attention paid to the plots we did not, "Vanity Fair" might have been one of the best films of the year. All we can do now is watch the finished product, think to ourselves 'how in the hell did this happen', and send angry letters to Mira Nair, the director, and the screenwriters -- both sets of them. Wait until video...but do see this film for some fantastic performances.