Anna Karenina (A- or 3.5/4 stars)
Romantic melodrama, 'Anna Karenina', follows 20-something other screen versions of Tolstoy's classic 1873 novel. So, to prevent another potentially stodgy adaptation, and in an attempt to keep this new version fresh, director Joe Wright (Pride & Prejudice, Atonement), tries something different, here. Instead of filming in Russia or in elegant mansions, most of the action takes place in an ornate 19th century theatre. For instance, the stage transforms from a small train set into an actual moving train at a station; it also transforms into St. Petersburg homes, into the gorgeous Karenina apartment, a huge ballroom, a horse racing track, an ice rink, & more settings. There's even a moment or two when a stage door opens and a character steps out into a vast snowy field – neat stuff, and VERY adventurous filmmaking. This fresh approach may distract some members of the audience but others - like me - will see in the use of theatre as both fascinating to watch, as well as a metaphor for how hypocritical high society Russians of the late 19th c. held themselves in such an esteem that you'd think they were performing on a stage for all the world to see.
Anna Karenina (Keira Knightley) is the alluring & unsatisfied wife of Aleksei Karenin (Jude Law), a stiff, rigid-thinking Imperial minister who lacks a warm demeanor. And they have an 8 yr. old son who is quite close to his mother. Attending a ball & expecting nothing new to occur, the vivacious Anna is gobsmacked at the sight of Vronsky (Aaron Taylor-Johnson), a handsome young cavalry officer who is decked out in a crisp white uniform. All the other males fade into the background once he takes Anna on the dance floor & asserts his sexual prowess.
Vronsky can't get enough of Anna & she is caught up in the ecstasy of receiving from him what she’s been missing in her stale 9 yr. marriage. Once they flaunt their affair in public, all members of Russia's high society are enraged that she has committed an unforgivable social sin: abandoning her husband & child in order to please herself with sex. Really, she is made to feel like a whore. When Anna & Vronsky weigh the cost of their love, they are both shocked by what has been lost & what cannot ever be retrieved. And Anna's descent into addiction & madness makes up the film's grave final act.
One of the things Joe Wright & screenwriter Tom Stoppard do exceedingly well is condensing a 1,000 page book into this 124 minute film. A frequent casualty of this condensing process (in other film versions) is the book's main subplot concerning Levin (Domhnall Gleeson) & Kitty (impressive Swedish newcomer, Alicia Vikander). To their credit, Wright & Stoppard make light of this subplot; as it's necessary to balance the tragedy evident in the Anna/Vronsky/Karenin triangle. Levin & Kitty's story is given sufficient screen time for it to feel like more than a throwaway plotline. In fact, the central scene of their relationship, in which they playfully interact with each other using game board letters, is apparently very faithful to the novel.
Keira Knightley excels in conveying Anna's guile, melancholy, defiance, & courage in refusing to allow society to keep her imprisoned in a morose marriage. Anna always loved her son, cared for people, brushed aside early butterflies for Vronsky, etc.. Even before the affair begins, Anna is told by a countess to follow her erotic impulses: "I'd rather end up wishing I hadn't than wishing I had, wouldn't you?" So on paper, Anna comes across as a selfish neurotic whose depression is exacerbated by the social ostracism that accompanies her torrid affair. However, Knightley is able to imbue enough shades to Anna that - even when I knew she was doing something vile - I could also see her vulnerable, damaged heart. Really, Anna was just in the wrong place at the wrong time. In 2012, few people would even bat an eye at her indiscretions. Thanks to Knightley, I couldn't help but feel some pity for Anna as the film moved relentlessly towards its tragic end.
I think the worst thing that could be said about 'AK' is that audiences may be conflicted about Anna & may not care much about Vronsky (which could be attributed to Taylor-Johnson's portrayal). But one of the best things that can be said about 'AK' is that Wright's cinematic flourishes & use of space in telling this story keeps this potentially-boring movie quite interesting. Knightley reigns, but I also like how Jude Law's Karenin exists as a moral center of the film - a wronged-man trying to do the right thing. Seamus McGarvey's photography, Sarah Greenwood's production design, & Jacqueline Durran's costumes are impeccable. So all said, 'Anna Karenina' is one of the more intoxicating & sumptuous movies you're likely to see this year.
Anna Karenina (Keira Knightley) is the alluring & unsatisfied wife of Aleksei Karenin (Jude Law), a stiff, rigid-thinking Imperial minister who lacks a warm demeanor. And they have an 8 yr. old son who is quite close to his mother. Attending a ball & expecting nothing new to occur, the vivacious Anna is gobsmacked at the sight of Vronsky (Aaron Taylor-Johnson), a handsome young cavalry officer who is decked out in a crisp white uniform. All the other males fade into the background once he takes Anna on the dance floor & asserts his sexual prowess.
Vronsky can't get enough of Anna & she is caught up in the ecstasy of receiving from him what she’s been missing in her stale 9 yr. marriage. Once they flaunt their affair in public, all members of Russia's high society are enraged that she has committed an unforgivable social sin: abandoning her husband & child in order to please herself with sex. Really, she is made to feel like a whore. When Anna & Vronsky weigh the cost of their love, they are both shocked by what has been lost & what cannot ever be retrieved. And Anna's descent into addiction & madness makes up the film's grave final act.
One of the things Joe Wright & screenwriter Tom Stoppard do exceedingly well is condensing a 1,000 page book into this 124 minute film. A frequent casualty of this condensing process (in other film versions) is the book's main subplot concerning Levin (Domhnall Gleeson) & Kitty (impressive Swedish newcomer, Alicia Vikander). To their credit, Wright & Stoppard make light of this subplot; as it's necessary to balance the tragedy evident in the Anna/Vronsky/Karenin triangle. Levin & Kitty's story is given sufficient screen time for it to feel like more than a throwaway plotline. In fact, the central scene of their relationship, in which they playfully interact with each other using game board letters, is apparently very faithful to the novel.
Keira Knightley excels in conveying Anna's guile, melancholy, defiance, & courage in refusing to allow society to keep her imprisoned in a morose marriage. Anna always loved her son, cared for people, brushed aside early butterflies for Vronsky, etc.. Even before the affair begins, Anna is told by a countess to follow her erotic impulses: "I'd rather end up wishing I hadn't than wishing I had, wouldn't you?" So on paper, Anna comes across as a selfish neurotic whose depression is exacerbated by the social ostracism that accompanies her torrid affair. However, Knightley is able to imbue enough shades to Anna that - even when I knew she was doing something vile - I could also see her vulnerable, damaged heart. Really, Anna was just in the wrong place at the wrong time. In 2012, few people would even bat an eye at her indiscretions. Thanks to Knightley, I couldn't help but feel some pity for Anna as the film moved relentlessly towards its tragic end.
I think the worst thing that could be said about 'AK' is that audiences may be conflicted about Anna & may not care much about Vronsky (which could be attributed to Taylor-Johnson's portrayal). But one of the best things that can be said about 'AK' is that Wright's cinematic flourishes & use of space in telling this story keeps this potentially-boring movie quite interesting. Knightley reigns, but I also like how Jude Law's Karenin exists as a moral center of the film - a wronged-man trying to do the right thing. Seamus McGarvey's photography, Sarah Greenwood's production design, & Jacqueline Durran's costumes are impeccable. So all said, 'Anna Karenina' is one of the more intoxicating & sumptuous movies you're likely to see this year.