Anna Karenina
The rich performances, succinct screenwriting, and strong direction make it a re-interpretation worth seeing.
Leo Tolstoy ’s 19th - C novelAnna Kareninais considered a masterpiece of literary realism and one of the greatest tome ever written ( in sure circles , of course ) . The write up was bring to cinematic life numerous fourth dimension over the row of the last one C , in both the Russian and English linguistic process . Moreover , its most recent cinematic interpretation comes from the duo of Oscar - succeed screenwriter Tom Stoppard ( Shakespeare in Love ) and director Joe Wright , who is working for a third time with actress Keira Knightley ( after their adaption ofPride & PrejudiceandAtonement ) .
Wright makes the bold creative choice to couch Tolsoy ’s tarradiddle as a stage play ; one where the 19th - 100 Russian mellow - society is recreated through extravagant lot - and microscope stage hand in the rafters comprise the Russia labor or working form universe - which are juxtapose with scenes shot on location around the Russian countryside . It ’s an audacious approach to highlighting an crucial melodic theme that is explored through Tolstoy ’s original oeuvre ; that is , comparing the ( literal ) artificiality of city life with a more down - to solid ground and organic universe in that time period . But does that stylistic option either enhance or detract from the human story and dramatic play unfolding onscreen ?
Stoppard ’s script despoil Tolstoy ’s monumental source fabric of its political treatment ( which , as indicated above , is state visually , rather than through dialogue ) , but does retain the two central , occassionally - intertwining , narration yarn . The more prominent thread tell the tale of Anna Karenina ( Knightley ) , a young mother and wife to aristocrat Karenin ( Jude Law ) who engages in a heated affair with the more age - appopriate bachelor , Vronsky ( Aaron Johnson ) .
Meanwhile , another plot line revolve around Levin ( Domhnall Gleeson ) , a lowly aristocratic landowner who prefer to live and lick on his own estate - but seeks assistance from his old acquaintance - and Anna ’s brother - the boisterous Oblonsky ( Matthew Macfadyen ) , in the hopes of winning the hand of Kitty ( Alicia Vikander ) , who is the younger sib of Oblonsky ’s married woman Dolly ( Kelly Macdonald ) . However , upon Levin ’s arrival , Kitty is actively being courted by Vronsky ; that is , until Anna enters the picture while on a mission to convert Dolly to forgive Oblonsky ’s most recent redundant - matrimonial pass .
Wright ’s unconventional approach toAnna Kareninathreatens to overwhelm its human and story ingredient , but ( for the most part ) manages not to , thanks to persevering carrying out from its ensemble plaster bandage . The standouts include Macfadyen , Law , Macdonald , and Ruth Wilson ( Luther ) as Anna ’s beguiling admirer , the Princess Betsy Tverskoy . Moreover , Knightley receive both our understanding and defeat as Anna , while Johnson answer as the shallow Vronsky . Both manage to do solid employment together , even though they are portraying a couple who , by design , miss any sort of measurable chemistry ( in keep with the theme that their relationship is based on physical lust , not a pauperism for deeper emotional and/or spiritual connexion ) .
However , not all of the characters and story material present here successfully stave off being overshadow by Wright ’s technical showmanship . The pacing starts to drop back and proceedings begin to feel over - long throughout a magnanimous portion of the third human action , once Anna is forced to deal with the repercussions that come with her actions ; her resulting psychological tumult does not translate as well from Tolstoy ’s printed Thomas Nelson Page as the events proceeding it . Similarly , the Levin storyline has its moment ( such as a tender central where he and Kitty quiet play a game full of double - meaning ) , but its deeper import and emotional rapport is n’t realized as well as the battle between sensual desire and soulful fulfillment in Anna ’s plot line .
There ’s a grand impulse and elan vital to the first act of Wright’sAnna Kareninathat ’s achieved through the combination of balletic cinematography from Seamus McGarvey and impeccable action choreography . This allow members of the cast to move with dancer - like gracility around ( and sometimes eventhrough ) gorgeous screen background scenery envisioned by yield couturier Sarah Greenwood - even while dressed in exquisite costumes that are the handwork of Jacqueline Durran ( who , like the said artists , is a frequent Wright collaborationist ) . The film - as - theatre approach path teeters on the border of becoming a whatchamacallit at times , but never fall completely over that line .
As a result of all that , Anna Kareninamanages to obviate certain potholes that other period dramas and literary adaptations have fallen into when they reach for more pronounced naturalism . Here , cavil about the lack of unquestionable speech pattern , cast , or historically - accurate details can be dismissed since it ’s no mystery that these events are being staged ( literally ) . However , this call attention to how , in this retelling of Tolstoy ’s story , style is essentially equated with core - rather than think to heighten the themes built-in to the narrative . Thus , Wright ’s flick catch as a re - imagining of a conversant story , but not inevitably one that also sheds new luminousness or offers more insight on the subject inherent to the write up ( when compare to retiring re - tellings , that is ) .
Although Wright ’s rendition ofAnna Kareninais indeed blemished - due in part to the la-di-da stylus , which often ( and , not to keep using the pun but , quite literally ) hog the center stage - the rich performances , succinct screenwriting , and strong direction make it a re - interpretation deserving seeing . Be warn , though , it wo n’t be everyone ’s loving cup of tea , no matter if you are an avid fan of Tolstoy ’s original novel and/or a moviegoer who just loves prestigious literary adaptations . Moreover , even though the film runs some 130 minute of arc long , it may not aviate by as easily as other championship of an superposable length .
Keira Knightley and Aaron Johnson in ‘Anna Karenina’
notwithstanding , you’re able to rest assured : upon leaving the theater , you wo n’t have any job remembering that you ’ve seen Joe Wright’sAnna Karenina(as opposed to some more disposable and less brassy award - cod , arthouse loss ) . It ’s easily worth a passport , on that ground alone .
Here is the prevue forAnna Karenina :
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Jude Law and Keira Knightley in ‘Anna Karenina’
Anna Kareninais now roleplay in limited theatrical release in the U.S. , but will extend to more field of operations over the upcoming week . It is Rated gas constant for some sexuality and force .
Keira Knightley stars as Anna Karenina in the 2012 picture show adaptation of the 1877 novel by Leo Tolstoy . head by Joe Wright , the menstruum film travel along a tragical love occasion between the claim role and horse cavalry policeman Count Vronsky ( Aaron Taylor - Johnson ) . Jude Law appears as Karenin , Anna ’s distant husband .
