In 1874, in the Imperial Russia, the aristocratic Anna Karenina travels from Saint Petersburg to Moscow to save the marriage of her brother Prince Oblonsky, who had had a love affair with his housemaid. Anna Karenina has a cold marriage with her husband, Count Alexei Karenin, and they have a son. Anna meets the cavalry officer Count Vronsky at the train station and they feel attracted by each other. Soon she learns that Vronsky will propose to Kitty, who is the younger sister of her sister-in-law Dolly. Anna satisfactorily resolves the infidelity case of her brother and Kitty invites her to stay for the ball. However, Anna Karenina and Vronsky dance in the ball, calling the attention of the conservative society. Soon they have a love affair that will lead Anna Karenina to a tragic fate.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Keira Knightley (Anna Karenina) and Matthew Macfayden (Oblonsky) played lovers in "Pride and Prejudice" (2005), as Elizabeth Bennet and Mr. Darcy. In "Anna Karenina" they play sister and brother. See more »
The label of the bottle of morphine Anna drinks from changes from "la Morphine" to "Morphine" between shots. The only correct French form would be without an article (prescriptions would have been written in Latin in 19th-century Russia anyway). See more »
If you have any thought for me you will give me back my peace!
There can be no peace for us, only misery, and the greatest happiness.
See more »
The ingredients for this fourth adaptation of Tolstoy's classic look promising on paper: Joe Wright and Keira Knightley reunite after their success with PRIDE AND PREJUDICE (2005), with a screenplay written by Tom Stoppard. The conception behind the film is a suggestive one: the entire action is located in a giant theater, with the protagonists conceived as performers putting on roles for the audience's benefit. This should have provided a framework for an analysis of Anna's (Knightley's) motivations, as she abandons her husband (Jude Law) in favor of her lover (Aaron Taylor-Johnston), even though by doing so she condemns herself to a lifetime of social ostracism. It's perhaps more important for her to follow her inclinations rather than conform to pre-determined social roles. Unfortunately the finished product turns out a disappointment: director Wright seems to have little idea how to develop the screenplay, other than to indulge in a series of consciously 'artificial' shots - for example, zooming into the characters' faces, or using a deliberately jagged narrative style - that render the action difficult to follow. In the central role Knightley seems miscast; she lacks both poise and grace - essential to portraying a Russian aristocrat - and she tends to gabble her lines. Taylor-Johnston's Vronsky is easily the worst I have seen in any of the four versions of the tale - surpassing Kieron Moore in Korda's woebegone 1948 adaptation. Not only does he lack any sense of nobility, but he does not seem to know what to do with the part: we are left wondering precisely why Anna should have wanted to fall in love with him. Jude Law's Karenin is perhaps the only reason for watching this film; a quiet, yet menacing personality who seldom loses his cool, yet remaining determined to control his wife (and hence maintain a facade of social respectability) at any costs. Trapped within this kind of marriage, we can understand precisely why Anna should want to take her own life. The film's group sequences are competently handled, although the choreography could have been improved. What this ANNA KARENINA shows is that even attaching the biggest names in theater to a project cannot guarantee its overall quality.
8 of 10 people found this review helpful.
Was this review helpful to you?
| Report this