Anna Karenina, Swelling Music, Swirling Dresses, Heaving Bosoms, And Loud Breathing
By Staff in Arts & Entertainment on Nov 16, 2012 7:00PM
eira Knightley stars as Anna Karenina. Photo credit: Laurie Sparham.
When movies based on a novel belonging to the literary canon like Leo Tolstoy's Anna Karenina are produced and filmed, it is important to carefully consider what can be done differently with a story that has been told over and over again. British director Joe Wright of Pride & Prejudice, Hanna and Atonement has sought to create a world where modern cinema-goers would enter a 19th century Russian fantasy characterized by luminous costumes, dramatic camera angles, beautiful people, and loads of lust. What has resulted is plenty of swelling music, swirling dresses, heaving bosoms, and loud breathing.
The movie tells the parallel love stories of Russian socialite Anna Karenina (Keira Knightley) and affluent landowner and farmer Konstantin Levin (Domhnall Gleeson). Anna’s story opens with her departing from her husband (Jude Law) in order to visit her brother’s family and attempt to alleviate the stress due to his socially sanctioned womanizing. Anna’s brother, Stiva Oblonsky, is played by Matthew Macfadyen whose thin, caterpillar-like mustache transforms his resolute, grave appearance seen in his role as Mr. Darcy in Wright’s Pride & Prejudice into something charmingly foolish and comedic. Knightley and Macfadyen’s previous romantic chemistry as Elizabeth Bennett and Mr. Darcy translates smoothly here into an earnest and believable brother-sister relationship. It is visiting her brother where Anna meets and falls frantically in love with playboy cavalry officer Alexei Vronksy played by Aaron Taylor-Johnson. Aside from Anna’s problem of being married and theoretically unavailable, Vronsky is also already involved in the process of courting Oblonsky’s young and innocent sister-in-law, Kitty. The tragic irony here is that in Tolstoy’s time, men like Oblonsky or Vronksy could get away with as many extramarital affairs as they wanted while women like Anna were outcasted and shunned for their infidelity.
What follows Anna and Vronky’s initial meeting is a series of erotic love scenes, vicious fights, and some of the best on-screen romantic tension we've ever witnessed. The undulating music combined with concentrated sidelong glances, coquettish lowered lashes, and entirely sincere gasps between kisses creates a very odd effect that makes you feel dirty yet ready for more.
Jude Law’s part as Anna’s cuckolded husband and indifferent though somewhat well-meaning politician is a surprising role choice for him. The sober clothing, receding hairline, and deep wrinkles are not boyish or appealing like previous characters he has played. Alexei Karenin is not a very complex man, but Law is able to truthfully interpret and perform Karenin’s private and public conflict in a way that is stirring and emotional.
What is new to this novel’s story and best about this film is highly acclaimed British playwright Tom Stoppard’s work as screenwriter. His absurdist approach and clever wordplay is responsible for Oblonsky’s inspired, pompous remarks and Vronsky’s riotous penchant for taking himself way too seriously. You should see Anna Karenina not because of superstar performances from Knightley or Law but instead because of the depth, playfulness, and sparkle Stoppard contributes. Anna’s story is a familiar one of initial joy but eventual pain and deep depression; it is Stoppard’s light and desire to capture the innate irony (and in fact maybe humor) in something so obviously fated for disaster that makes this a noteworthy experiment in reinventing another literary classic.
By: Vicki Pietrus