Synopsis: A bold, theatrical new vision of the epic story of love, adapted from Leo Tolstoy’s timeless novel. The story powerfully explores the capacity for love that surges through the human heart. As Anna questions her happiness and marriage, change comes to all around her.
Stars: Keira Knightley, Jude Law, Aaron Taylor-Johnson, Kelly Macdonald, Matthew Macfadyen, Domhnall Gleeson, Ruth Wilson, Alicia Vikander, Olivia Williams, Emily Watson
Director: Joe Wright
Running Length: 130 minutes
Trailer Review: Here
TMMM Score: (8/10)
Review: ‘Tis the season for grand costume dramas adapted from classic literature and the holiday is off to a good start with this adaptation of Leo Tolstoy’s Russian drama of alienation, deception, and doomed love. Though Anna Karenina has been seen on screens both big and small since film was invented, this 2012 version is ablaze with passion framed within a highly theatrical landscape that is both inviting and cold. Think Moulin Rouge! meets Merchant Ivory.
Now don’t roll your eyes…Moulin Rouge! has its rabid fans as well as those that wrote off Baz Luhrmann’s 2001 musical as MTV hyper cut filmmaking but it reintroduced some needed theatricality into film that had been lost for some time. I consider Anna Karenina a sister film to Moulin Rouge!…meaning that if Moulin is the excitable sibling that can’t sit still, Anna is the lovelorn romantic that dreams of something bigger and better.
Re-teaming for the third time after collaborating on Pride and Prejudice and Atonement, director Wright and star Knightley have brought in playwright Tom Stoppard to lend his distinct voice to the telling of this sad tale. Stoppard has cleared away some of the muck in Tolstoy’s hefty (but well respected) tome and let previously underplayed storylines come to the forefront with ease. Though the story is clearly centered on Anna and her affairs of the heart, under Stoppard’s pen we are treated to some beautiful moments from our secondary characters.
Wright has consistently given Knightley her best work (and led her to an Oscar nomination for Pride and Prejudice) and Anna Karenina is no exception. I’ve found Knightley to be a hit or miss type of actress – her screeching performance in 2011’s A Dangerous Method almost broke the camel’s back and her work in the little-seen Seeking a Friend for the End of the World didn’t do her any favors . Thankfully, she’s ended 2012 with a searing take on the Russian wife swept away into a sea of deceit spurred on by an unfaltering love. Though she knows it will lead to no good, she can’t pry her heart out of the trouble it’s getting into.
As the two men in her life, Law and Taylor-Johnson are interesting choices to stoke the fires of her heart. Law, with a balding pate and stuffy demeanor shows us his struggle more than he actually lets us see behind his cold exterior as Anna’s husband that tries to save her from ruin. Taylor-Johnson is the young buck who catches her eye and falls just as hard for her without remorse of consequences. It can be frustrating to see some of the choices our characters make…but our actors make these choices appear unavoidable.
Secondary love stories are usually introduced for comic effect in classic literature but Stoppard has given a nice sheen to Gleeson’s courting of Vikander’s pretty princess. Though she only has eyes for Taylor-Johnson’s character, a shift in her heart happens on screen that is a wonder to behold – and it’s not just because Taylor-Johnson goes after Knightley instead. Gleeson and Vikander share one of the best scenes of the year…a wordless exchange where they literally spell out their feelings for each other.
On its own, this Anna Karenina had all the elements to make a perfectly respectable motion picture but Wright takes it several steps further by setting the film in a theatrical environment that adds a magical touch. Largely set in and around the stage of an ornate theater, Wright lets the camera push through the scenery into a Narnia-like world that exists behind the curtain. Scenes are shifted in front of your eyes to new locations with striking detail. Production designer Sarah Greenwood should keep Oscar night free because her lavish sets and ornate design will earn her a nomination without question.
Even highly theatricalized, the film doesn’t seem gimmicky. It would have been so easy to take this too far and make the film much too strident in its artifice but it always seems to work like it should. Sometimes it feels like the concept has been forgotten but soon Wright sweeps you back into the backstage drama that plays out. Cinematographer Seamus McGarvey creates a hypnotic pulse that the film hums along to…a dance sequence is played out with breathless beauty that captivates you fully.
It’s a film that has been on my mind as the days go by but be aware that, like Shakespeare, there is a period of adjustment you must get through with Anna Karenina. When the film began I wasn’t sure this was going to be something I would enjoy as much as I dd. The first fifteen minutes or so just spills over the audience and it’s up to you to hunker down and get up to speed. For those that do, you’ll find a clever and visually stunning film experience that is good fodder for a wintery day at the movies.