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                <TD height="24" colspan="6" vAlign=top><span class="style4"><FONT 
                  face="Arial, Helvetica, sans-serif"> DVD: Becky Sharp (1935) </FONT></span><BR>
  &nbsp;</TD>
              </TR>
              <TR>
                <TD width="120" vAlign=top class="style5"><FONT 
                  face="Verdana, Arial, Helvetica, sans-serif" size=2><B><FONT 
                  face="Arial, Helvetica, sans-serif">Film</FONT></B><strong>:</strong>&nbsp;</FONT></TD>
                <TD width="284" height="24" vAlign=top class="style5">Very Good </TD>
                <TD width="149" rowspan="9" vAlign=top class="style5"><img 
                  src="../../main/dvd_covers/b/BeckySharp1935.gif" 
                  alt="" width="120" height="168" border=0></TD>
                <TD vAlign=top class="style5">&nbsp;</TD>
                <TD colspan="2" vAlign=top class="style5">&nbsp;</TD>
              </TR>
              <TR>
                <TD vAlign=top class="style5"><FONT 
                  face="Verdana, Arial, Helvetica, sans-serif" size=2><B><FONT 
                  face="Arial, Helvetica, sans-serif">DVD Transfer</FONT></B><strong>:</strong>&nbsp;</FONT></TD>
                <TD height="24" vAlign=top class="style5">Poor</TD>
                <TD width="30" rowspan="2" align="right" class="style5">&nbsp;</TD>
                <TD width="136" height="35" rowspan="2" align="right" class="style5"><div align="right" class="style33 style34">...back to Index </div></TD>
                <TD width="52" rowspan="2" align="right" class="style5"><a href="http://www.kqek.com/dvd_reviews/DvdReviewIndex_B.htm" onMouseOver="replacement('b',0)" onMouseOut="replacement('b',1)"><img name="img_b" border="0" src="../../dvd_reviews/letter_tabs/B.gif" alt="B" width="36" height="35"></a></TD>
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                  face="Arial, Helvetica, sans-serif">DVD Extras </FONT></B><strong>:</strong>&nbsp;</FONT>&nbsp;</FONT></TD>
                <TD height="18" align=right valign="top"><div align="left">n/a</div></TD>
              </TR>
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                <TD height="23" vAlign=top class="style5">&nbsp;</TD>
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                <TD align="right" class="style5">&nbsp;</TD>
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                  <p>Alpha Video </p>
                  <span class="style5"></span></div></TD>
                <TD colspan="3" align=right>&nbsp;</TD>
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                <TD vAlign=top class="style5"><FONT 
            face="Arial, Helvetica, sans-serif" size=2><B>Catalog #</B></FONT></TD>
                <TD height="24" align=right valign="top"><div align="left"></div></TD>
                <TD rowspan="2" align=right>&nbsp;</TD>
                <TD height="35" rowspan="2" align=right><div align="right" class="style35">...or start from scratch </div></TD>
                <TD height="35" rowspan="2" align=right><span class="style5"><a href="http://www.kqek.com/dvd_reviews/DvdReviewIndex_A.htm" onMouseOver="replacement('a',0)" onMouseOut="replacement('a',1)"><img name="img_a" border="0" src="../../dvd_reviews/letter_tabs/A.gif" alt="A" width="36" height="35"></a></span></TD>
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                <TD vAlign=top class="style5"><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><B><FONT 
            face="Arial, Helvetica, sans-serif">Region</FONT>:</B></FONT></TD>
                <TD height="24" align=right valign="top"><div align="left"><span class="style5"><FONT 
            face="Verdana, Arial, Helvetica, sans-serif" size=2>1 (NTSC) </FONT></span></div></TD>
              </TR>
              <TR>
                <TD vAlign=top class="style5">&nbsp;</TD>
                <TD height="21" align=right valign="top">&nbsp;</TD>
                <TD align=right>&nbsp;</TD>
                <TD height="21" align=right>&nbsp;</TD>
                <TD height="21" align=right>&nbsp;</TD>
              </TR>
              <TR>
                <TD vAlign=top class="style5"><FONT 
            face="Verdana, Arial, Helvetica, sans-serif" size=2><B><FONT 
            face="Arial, Helvetica, sans-serif">Released</FONT>:</B></FONT></TD>
                <TD height="24" align=right valign="top"><div align="left">July 22, 2004 </div></TD>
                <TD colspan="3" align=right>&nbsp;</TD>
              </TR>
              <TR>
                <TD height="24" colspan="3" vAlign=top class="style5"><p>&nbsp;</p>                </TD>
                <TD colspan="3" align=right>&nbsp;</TD>
              </TR>
              <TR>
                <TD height="24" vAlign=top class="style5"><FONT 
            face="Verdana, Arial, Helvetica, sans-serif" size=2><B><FONT 
            face="Arial, Helvetica, sans-serif">Genre</FONT>:</B></FONT></TD>
                <TD height="24" colspan="2" vAlign=top class="style5">Drama</TD>
                <TD colspan="3" align=right>&nbsp;</TD>
              </TR>
              <TR>
                <TD vAlign=top class="style5"><font face="Arial, Helvetica, sans-serif" 
                  size=2><b>Synopsis:</b><br>
                </font></TD>
                <TD height="36" colspan="3" vAlign=top class="style5">Wiley Becky Sharp lies and wiggles her way to good fortune and social standing. </TD>
                <TD colspan="2" vAlign=top class="style5">&nbsp;</TD>
              </TR>
            </TBODY>
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<span class="style5"><br>
&nbsp;</span>
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      <TD width=119 class="style5">
        <p></TD>
      <TD width=412 height="12" align=left class="style5">&nbsp;</TD>
    </TR>
    <TR valign="top">
      <TD class="style5">
        <P><FONT face="Arial, Helvetica, sans-serif" 
            size=2><B>Directed by:</B></FONT></P></TD>
      <TD height="24" align=left class="style5">Rouben Mamoulian  </TD>
    </TR>
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    <TR valign="top">
      <TD width=119 class="style5"><FONT 
            face="Arial, Helvetica, sans-serif" size=2><B>Screenplay by:</B></FONT></TD>
      <TD width=412 height="24" align=left class="style5">Francis Edwards Faragoh </TD>
    </TR>
  </TBODY>
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      <TD height=25 align=left class="style5"><FONT 
            face="Arial, Helvetica, sans-serif" size=2><B>Music by:</B> </FONT></TD>
      <TD height="24" align=left class="style5">Roy Webb  </TD>
    </TR>
    <TR valign="top">
      <TD width=119 height=25 align=left class="style5"><FONT 
            face="Arial, Helvetica, sans-serif" size=2><B>Produced by:</B> </FONT></TD>
      <TD width=412 height="24" align=left class="style5">Kenneth Mcgowan, Rouben Mamoulian  </TD>
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  </TBODY>
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<TABLE cellSpacing=0 cellPadding=0 width=613 border=0>
  <TBODY>
    <TR>
      <TD width=119 align=left vAlign=top class="style5"><FONT 
            face="Arial, Helvetica, sans-serif" size=2><B>Cast:</B></FONT></TD>
      <TD width=494 height="36" align=left class="style5"> <p>Miriam Hopkins, Frances Dee, Cedric Hardwicke, Billie Burke, Alison Skipworth, Nigel Bruce, Alan Mowbray, G.P. Huntley, and William Stack. </p></TD>
    </TR>
  </TBODY>
</TABLE>
<TABLE cellSpacing=0 cellPadding=0 width=614 border=0>
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      <TD width="614" height="40" colSpan=2 class="style5">
        <TABLE cellSpacing=0 cellPadding=0 width=531 border=0>
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        <TABLE cellSpacing=0 cellPadding=0 width=613 border=0>
          <TBODY>
            <TR vAlign=top>
              <TD height=24 align=left class="style5"><B><FONT size="2" 
                  face="Arial, Helvetica, sans-serif">Film Length</FONT><FONT size=2>:</FONT></B><FONT 
                  face="Verdana, Arial, Helvetica, sans-serif" size=2>   82 mins</FONT></TD>
              <TD><div align="right"><FONT 
                  face="Verdana, Arial, Helvetica, sans-serif" 
                  size=2><B>Process/Ratio:</B>&nbsp;Technicolor / 1.33:1</FONT></div></TD>
            </TR>
            <TR vAlign=top>
              <TD align=left width=250 height=24><span class="style5"><font size=2 face="Arial, Helvetica, sans-serif" class="style5"><b>Colour</b> </font></span></TD>
              <TD class="style5"><div align="right"><font face="Arial, Helvetica, sans-serif" 
                  size=2><b>Anamorphic DVD:</b> No </font></div></TD>
            </TR>
            <TR vAlign=top>
              <TD height=24 colspan="2"><span class="style7"><span class="style5"><FONT 
                  face="Arial, Helvetica, sans-serif" size=2><B>Languages:</B> </FONT><FONT 
                  face="Verdana, Arial, Helvetica, sans-serif" 
                  size=2>&nbsp;English Mono </FONT></span></span></TD>
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            <TR vAlign=top>
              <TD height=24 colspan="2"><span class="style5"><FONT 
                  face="Arial, Helvetica, sans-serif" size=2><B>Subtitles:</B> </FONT><FONT 
                  face="Verdana, Arial, Helvetica, sans-serif" 
                  size=2>&nbsp;</FONT></span></TD>
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              <TD width=205 height=24 valign="top" bgColor=#000000><span class="style5"><FONT 
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              <TD vAlign=top width=613 height=24><span class="style5"><FONT 
                  face="Verdana, Arial, Helvetica, sans-serif" size=2><B><FONT 
                  face="Arial, Helvetica, sans-serif" size=2>Comment</FONT></B><strong>s</strong> <strong>:</strong> </FONT></span></TD>
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              <TD width=613><p>Langdon Mitchell&rsquo;s stage play (itself derived from Thackeray&rsquo;s  novel <strong>Vanity Fair</strong>) may seem like a  strange choice for the <a href="http://www.widescreenmuseum.com/oldcolor/technicolor6.htm" target="window">first 3-strip  Technicolor feature film</a>, but the period setting (just before the Battle of  Waterloo), the era&rsquo;s flowing gowns and military uniforms, and a strong-willed  woman as lead character kind of makes sense, particularly since Becky Sharp&rsquo;s  hunger for money and social status demands elaborately decorated sets, as well  as dramatic lighting when Sharp&rsquo;s luck keeps veering from fortuitous to near  poverty.</p>
                <p>Sharp (Miriam Hopkins) is vile creature: she&rsquo;s a gold-digger  who lies her way into the hearts of gullible men, extracts whatever hard cash she  can find, and moves on to the next best thing while keeping a thin tether on  her conquests - just in case her current target proves to be a washout.</p>
                <p>Even when she encounters a wealthy and powerful Marquise (a  sorta-young Cedric Hardwicke), there&rsquo;s little doubt she&rsquo;ll manage some control,  although the inevitable failure of that liaison forces her into hiding when she  becomes the ridicule of upper class society.</p>
                <p>Incredibly, Sharp remains married to a milquetoast (pouty  Alan Mowbray) while she progresses towards the Marquise&rsquo;s boudoir, and although  she&rsquo;s courted by her best friend&rsquo;s husband (G.P. Huntley) at one point, her  friend Amelia (Frances Dee) remains supportive in the end, offering her another  escape from poverty when everyone else has scorned the satin-clad monster.</p>
                <p>The strangest aspect of the play is its obvious tongue-in  cheek quality, which is itself enhanced immeasurably by Hopkin&rsquo;s  Grand Guignol performance, if not  a stylistic addition made by the screenwriters, and  directors Rouben Mamoulian and <a href="http://www.kqek.com/dvd_reviews/v2z/3675_WhatPriceHollywood.htm">Lowell Sherman</a> (who died early into the film's production). </p>
                <p>Hopkins&rsquo; efforts were nominated for an Oscar, but it&rsquo;s a  highly theatrical performance with every note delivered at screaming intensity;  she does mope now and then, but as Becky Sharp, Hopkins cackles and bawls,  shouts and beats down the resistance of her suitors with no mercy or pause, and  it&rsquo;s a character portrayal that&rsquo;s evolved over the years into a high camp.</p>
                <p>Hopkins&rsquo; also exploits her character&rsquo;s physical powers,  teasing her weak-willed admirers with a leg and flexing torso; there&rsquo;s a raw,  raciness that periodically bleeds from the screen, and one suspects this may  have been one of the last productions to not only flaunt a temptress&rsquo; sexuality  past the Production Code, but have her remain unrepentant, unpunished, and  prepared for another teasing adventure in the final reel.</p>
                <p>Much of the dialogue bubbles with dry wit and variable  levels of cruelty, including a politically wrong moment that has long suffering  admirer Joseph (a blathering Nigel Bruce) returning from India with a  pageboy (James &lsquo;Hambone&rsquo; Robinson). When Sharp queries, &ldquo;Is that your son?&rdquo; Joseph  replies &ldquo;Becky! You.. You blacken my character!&rdquo;</p>
                <p>Mamoulian&rsquo;s direction seems to improve once the film gets to  the grand ball sequence, since much of the early scenes are talky dialogue exchanges  that limit any camera movement (although that may have been due to the  Technicolor camera&rsquo;s gigantic size and sound blimp). The ballroom, as well as  Napoleon&rsquo;s salvos that send all enlisted men to the front, marks the film&rsquo;s  kinetic leap to life, with some stunning lighting, use of shadows, and an  exciting montage as soldiers leave on horseback from the building, leaving  Sharp and the Marquise to start their scandalous relationship.</p>
                <p><strong>Becky Sharp </strong>should  be a film widely available on home video, particularly since UCLA&rsquo;s 1992 restoration  was highly publicized (the film also received a &nbsp;write-up in the November 1984 issue of  American Cinematographer), but the only source on home video seem to be the old  two-colour Cinecolor version, an ongoing source of headache among film buffs  who want to see Mamoulian&rsquo;s film in its blazing Technicolor glory. (The UCLA  version has reportedly appeared on AMC, however.)</p>
                <p>This is particularly frustrating because it was in <strong>Becky Sharp</strong> that Mamoulian experimented  with his &lsquo;logic of color&rsquo; theory: to prevent a sequence from visually drying  up, the dullest colour elements (such as actors clad in grey uniforms in the  ballroom sequence) left a shot first, leaving the most arresting colours  (actors in red coats) until last. One still gets an impression of what  Mamoulian was striving for in <a href="http://www.google.ca/search?hl=en&rlz=1T4ADBF_enCA334CA334&ei=PO-CSsDTEYyMMZ2QheoD&sa=X&oi=spell&resnum=0&ct=result&cd=1&q=cinecolor&spell=1" target="window">Cinecolor</a>,  but it&rsquo;s a far cry from what was restored by UCLA.</p>
                <p>Much like the expanded version of Erich von Stroheim&rsquo;s <strong>Greed</strong> that played on TCM, or any  version of Abel Gance&rsquo;s <strong>Napoleon</strong>,  there seems to be a mix of rights and apathy at play, although perhaps <strong>Beck Sharp</strong>&rsquo;s dilemma stems from muddy  ownership issues.</p>
                <p>The film was one of three productions produced by <a href="http://www.widescreenmuseum.com/oldcolor/technicolor9.htm" target="window">Pioneer  Pictures Corporation</a>, a company set up by millionaire <a href="http://www.imdb.com/name/nm1533405/bio" target="window">John Hay Whitney</a>, who also  owned shares in Technicolor. Each of the company&rsquo;s films were firsts: <strong><a href="http://www.kqek.com/dvd_reviews/d/3479_Dixiana_LaCucaracha.htm">La Cucaracha</a> </strong>(1934) was the first  3-strip Technicolor live-action short, <strong>Becky  Sharp</strong> (1935) the format&rsquo;s first feature-length color film, and <strong>Dancing Pirate</strong> (1936) the first  feature-length colour musical. </p>
                <p>(Prior Technicolor films used the older 2-strip process  which lacked the explosive redness in 3-strip films like 1939&rsquo;s <strong><a href="http://www.kqek.com/dvd_reviews/a/2637_AdvRobinHood1938.htm">The Adventures  of Robin Hood</a></strong>.)</p>
                <p>The three Pioneer films were also released by theatrically  by RKO, whose catalogue is currently owned by Warner Bros., but the trio&rsquo;s  distribution rights may have ended years before Warner&rsquo;s acquisition. What film  buffs are left with are public domain transfers on budget DVDs, from this  review is derived.</p>
                <p>(Alpha Video&rsquo;s copy runs 84 mins., so there&rsquo;s no worry of  getting the hacked up 67 min. reissue version, but the audio mix &ndash; whether  present in the original Technicolor or the Cinecolor version &ndash; is atrocious.  Dialogue is pinched to near-distortion, and given so many of the actors shout  and scream throughout the film, the experience is torturous. Roy Webb&rsquo;s score  cuts also sound tinny, and the bad mix robs the music of its dramatic  intensity.)</p>
                <p>Another reason the UCLA version might be commercially  unavailable are the major leaps in technology since the restoration. As the  studios have been upgrading their elite classics with new HD transfers, the  UCLA version may need a new digital transfer, and that painstaking process &ndash; as  well as a possible audio cleanup &ndash; might be what&rsquo;s currently keeping <strong>Becky Sharp </strong>away from DVD, if not  Blu-ray.</p>
                <p>The Alpha release is a stop-gap, and certainly provides a  glimpse into what the film almost looks like in colour, but by no means does it  represent the gorgeous cinematography that convinced other studios to give  Technicolor&rsquo;s 3-strip process a try.</p>
                <p>Rouben Mamoulian&rsquo;s other grand Technicolor drama, <strong><a href="http://www.kqek.com/dvd_reviews/b/3209_BloodSand1941.htm">Blood and Sand </a></strong>(1941),  is also worth examining for the extraordinary cinematography. Hopkins also co-starred in the director&rsquo;s  striking (and pre-Code) version of<strong><a href="http://www.kqek.com/dvd_reviews/d/2704_DrJekyllMrHyde1931.htm"> Dr.  Jekyll and Mr. Hyde</a></strong> (1931), whereas Nigel Bruce also appeared in that  other Technicolor milestone, <strong><a href="http://www.kqek.com/dvd_reviews/t2u/3476_TrailLonesomePine1936.htm">Trail of  the Lonesome Pine</a></strong> (1936).</p>
                <p>&nbsp;</p>
                <P align="right" class="style5"><span class="style18 style5 style19">&copy; 2009</span><span class="style18"> Mark R.</span> Hasan
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