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."
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