Anna Karenina Review

Rated R (Some Sexuality and Violence)

Running Time: 2 Hours & 10 Minutes

Cast-

Keira Knightley-Anna Karenina

Jude Law-Alexei Karenin

Aaron Taylor-Johnson-Count Alexei Vronsky

Domhnall Gleeson-Konstantin Levin

David Wilmot-Nikolai Levin

Alicia Vikander-Princess Ekaterina 'Kitty' Shcherbatskaya

Matthew Macfadyen-Prince Stepan 'Stiva' Oblonsky

Kelly Macdonald-Princess Darya 'Dolly' Oblonskaya

Olivia Williams-Countess Vronskaya

Ruth Wilson-Princess Elizaveta 'Betsy' Tverskoy

Emily Watson-Countess Lydia Ivanova

Oskar McNamara-Sergei 'Serhoza' Karenin

Directed by Joe Wright

Keira Knightley as Anna Karenina in Joe Wright's lavish adaptation of Leo Tolstoy's classic 1873 novel.

'All the world's a stage,' remarked a melancholy Jaques in William Shakespeare's comedy As You Like It, and nowhere is this truer than in Joe Wright's latest film, "Anna Karenina," based upon Leo Tolstoy's celebrated 1873 novel of the same name. Wright made a big splash in 2005 with his directorial debut "Pride and Prejudice," which earned him critical acclaim despite it being the umpteenth adaptation of Jane Austen's famous 1813 novel. His follow-up, 2007's "Atonement" (another adaptation, this time of Ian McEwan's 2001 novel), received a similar reaction and is one of my favorite films as it was integral to my awakened love of movies. 2009's "The Soloist" was a throwaway 'based on a true story' film that Hollywood loves to release so I didn't bother. Last year's "Hanna" marked a return to form for the British director. This was his first film based on an original script but instead of making another generic action thriller, Wright wove elements of dark fairy tales into the story and complemented it with a thumping score from electronic music duo the Chemical Brothers. Like "Pride and Prejudice," Tolstoy's novel has been adapted eleven times since 1914; the previous one was released in 1997 and starred Sophie Marceau and Sean Bean. This begs the question: do we really need another film adaptation? While it may not reach the grandiose heights that Wright was hoping for, "Anna Karenina" is still worth a look thanks to its bold creative vision, gorgeous production design, and rich performances. 

Taking place in 1874 Imperial Russia, Anna Karenina's (Keira Knightley) marriage to wealthy statesman Alexei Karenin (Jude Law), who is twenty years her senior, is thrown into turmoil when she begins a torrid affair with the dashing Count Alexei Vronsky (Aaron Taylor-Johnson). The two first meet when Anna arrives in Moscow from Saint Petersburg to help convince Darya 'Dolly' Oblonskaya (Kelly Macdonald) to take back her husband, Anna's adulterous brother Stepan Oblonsky (Matthew Macfadyen). Vronsky, who was at the train station to pick up his mother, Countess Vronskaya (Olivia Williams), is immediately infatuated with Anna and begins to pursue her. She initially rebuffs his advances but cannot help succumbing to them. During a steeplechase event, Vronsky pushes his horse Frou-Frou too hard, causing her to fall and break her back. A distressed and emotional Anna shouts Vronsky's name in the presence of her husband and she confesses her affair when they return home. Concerned about their public image, Karenin asks his wife to break it off, believing that it will preserve their marriage. Meanwhile, a childhood friend of Oblonsky's, Konstantin Levin (Domhnall Gleeson), seeks the hand of Dolly's younger sister, Ekaterina 'Kitty' Shcherbatskaya (Alicia Vikander), who was meant to be betrothed to Vronsky. A landowner, Levin is a shy and earnest man who is determined to win Kitty's affections. 

Eschewing the realism that Leo Tolstoy was famous for, Wright has chosen to frame "Anna Karenina" within a decrepit theater. This distinctive mise-en-scène is a literal symbol of how every action was closely scrutinized in Russian high society during the late nineteenth century. Characters walk the streets of Moscow and Saint Petersburg on an extravagant stage set against a painted backdrop, reflecting the artifice of the upper class where any hint of deviation from 'the rules' was met with a two-faced smile and a sneer behind your back. Living in the rafters above is the proletariat or the working class, represented as stage hands who furiously scramble in a brilliant display of choreography during one of the film's elaborate scene transitions, such as when Oblonsky leaves to meet with Levin, where the government office is disassembled and put back together in a flurry of activity as the restaurant L’Angleterre. Wright's gliding camera and the upbeat music make these sequences humorous to watch, with the film playing out like a broad comedy in the beginning before shifting into more dour territory. The stage occasionally opens up to the Russian countryside (shot on-location), with Levin returning home to his farm by opening a door in the back, a contrast of the apathetic, corrupting influence of city-life with the simpler, down-to-earth existence of that particular time period. 

Seamus McGarvey's lush cinematography and Sarah Greenwood's intricate production design make "Anna Karenina" one of the most dazzling films of the year. It's not only a feast for the eyes but for the ears as well thanks to Dario Marianelli's score, which combines a moving orchestral motif with hints of Russian folk music. Unfortunately, Tom Stoppard's script never matches the theatrical quality of its visuals. Tolstoy's novel exposed the hypocrisy that permeated through Russian high society by weaving two concurrent love stories, which Stoppard has retained in a more streamlined form. Yet the relationship between Anna and Vronsky never captures the heightened passion that it calls for due to how shallowly written Vronsky is. The pacing also begins to drag in the last twenty or so minutes as we're repeatedly treated to scenes of Anna accusing Vronsky of cheating on her. In an unusual move, the story depicts the two lovers as naïve and self-absorbed, while Karenin is the film's most sympathetic figure, suffering in silence and begging his wife not to continue her dalliance for the sake of not only her public image but her children as well. As unlikable as Anna was, I still pitied her as she leapt toward her dark fate. Levin and Kitty's subplot is not afforded as much screen-time but there's enough here to make it not feel tacked on. The two share a touching moment where they only communicate with lettered blocks, a reminder that love cannot survive if solely based on lust. 

Wright reunites with his favorite leading lady Keira Knightley, who delivers an excellent performance as the neurotic and shrill Anna. The numerous dresses she wears look absolutely beautiful thanks to Jacqueline Durran. Jude Law is marvelous as Karenin, lending the man a soft-spoken demeanor that serves as the film's moral center. The only weak link is Aaron Taylor-Johnson, who has the looks but not the skill to pull off such a complex character. His rendition of Vronsky is one-dimensional and his chemistry with Knightley is lacking. Domhnall Gleeson and Alicia Vikander are solid, with the two exhibiting a playful, innocent charm while Matthew Macfadyen provides some welcome comic relief as the amorous Stepan Oblonsky. 

In limited release since November 16, 2012, "Anna Karenina" has received mixed reviews with 61% on Rotten Tomatoes. Critics found 'Wright's energetic adaptation of Tolstoy's classic romance…a bold, visually stylized work—for both better and worse.' The film is obviously meant to be a major awards contender but given the mixed reception, it's unlikely to gain much traction even if it garners the usual nominations. Even the reactions from the audience seemed rather muted despite how packed the showing was on Saturday. Joe Wright's adaptation of "Anna Karenina" is definitely no dud but lavish visuals cannot make up for Stoppard's flawed script. However, there is no question that Wright remains a talented director and the unique approach he uses in adapting Tolstoy's novel is worth the price of admission alone, even if the film is not quite the revelation it hopes to be.

Final Rating: 3.5 out of 5

"Romantic love will be the last delusion of the old order."