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The problem with rewriting Becky Sharp is that this heartless and soulless woman is the heart and soul of the novel. Without Becky, Vanity Fair becomes one great costume drama--and, if that’s what you want, you’ll love the movie. The scenes are quite gorgeous, especially, as TOC noted, the famous party moms fucking moms that quickly turns into a rout as word of a seeming defeat moms fucking moms at Waterloo arrives. TOC quite brilliantly compares this to the fall of Atlanta (now, there was a tragedy), at the hands of the mass moms fucking moms arsonist known as General Sherman. (Becky, as TOC brilliantly notes, is the prototype for Scarlet O’Hara, fiction’s other great and soulless heroine.) There are beautiful parties, and a dazzling scene, beautiful and noble in a macabre way, of the fallen English soldiers at Waterloo. But without the real, unvarnished Becky, Rawdon’s love for his little son, so touching in the book, is less effective when we aren’t able to see the poor old booby as a well-bred buffoon who is putty in the hands of his vixen wife.
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