accept money again from Amelia. Becky turns, sits at a dresser, and stares into its mirror. In the reflection she watches her face transform from the reality of its present haggard appearance to its former beauty. She then notices that Joseph has quietly departed. She also notices on a small bedside bureau that he has torn up his sister's check, and in the dust that coats the bureau's surface he has written Finis ("The End"). The film concludes with Becky lowering her face into her hands and weeping. Cast Myrna Loy as Becky Sharp Conway Tearle as Rawdon Crawley Barbara Kent as Amelia Sedley Walter Byron as George Osborne Anthony Bushell as Dobbin Billy Bevan as Joseph Sedley Montagu Love as Marquis of Steyne Herbert Bunston as Mr. Sedley Mary Forbes as Mrs. Sedley Lionel Belmore as Sir Pitt Crawley Wild Bill Elliott as Minor Role (uncredited) Tom Ricketts as Parker (uncredited) Reception Vanity Fair received largely negative reviews in 1932 from some of the film industry's leading trade publications. The critic for Variety could not recommend the film, finding its acting "competent" but the overall production poorly scripted and its direction deficient: The Film Daily was even more critical of the film than Variety. The subheading of its review summarized the film as being a "Dull Drama" and an "Uninteresting Adaptation of Classic Novel That Falls Flat". The influential publication found Conway Tearle's performance to be the only aspect of the production that was truly noteworthy: {{Blockquote|''Vanity Fairs slow tempo, English accents, and draggy direction does not help it any. Myrna Loy has the role of Becky Sharpe, and is alluring as usual. But her part is so unsympathetic and the string of gents she trims appear such boobs that there is no cause for the audience to get enthusiastic or vitally interested ... Conway Tearle is her main victim, and after going along for half the distance, suddenly drops out of the picture, and you never see or hear from him again. He is the only one who puts a real vital spark in his role. When he goes, the picture goes with him. From then on it is a dismal portrayal of Becky's gradual fall into poverty and misery. The ending is distinctly depressing.}} See also Vanity Fair (1915) Vanity Fair (1923) External links ReferencesNotes''' 1932 films 1932 drama films American drama films American black-and-white films Films