While at a ski lodge, Larry Blake sees instructor Karin Borg and decides to sign up for private lessons. The next thing he knows, she is Mrs. Blake. When he announces that he is going back ... See full summary »
This version of the Tolstoy classic lingers longer in Moscow during the weeks that follow the initial meeting of the starstruck lovers-to-be Vronsky and Anna Karenina. The story -- as it unfolds -- also focuses on Kitty, a young woman who is related to Anna's sister-in-law whose marital rift has brought Anna to Moscow. Until Anna shows up, Kitty had hopes of getting Vronsky, who is single and well connected, to propose to her. Ignored by Vronsky, Kitty turns her attention to another suitor, a man who seems to have a lot in common with Tolstoy. Written by
Dale O'Connor <firstname.lastname@example.org>
During the steeple chase, when Count Vronsky and his mount fail to make the jump, a segment from another race is edited into the film depicting the fall. In the film, Vronsky is wearing his white uniform jacket and dark pants and cap before and after the spill. The clip inserted depicts a jockey wearing white pants and dark silks. See more »
I didn't know you were going back to St. Petersburg so soon. Why this change of plan?
Why? To be where you are. You know that. Forgive me, I... I had to say it.
You shouldn't. You shouldn't. You must forget that you said it.
Nothing of you. I shall never forget anything of you.
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None But the Lonely Heart (Nur Wer die Sehnsucht Kennt)
Music by Pyotr Ilyich Tchaikovsky ("Romance for Voice and Piano, Op. 6. No. 6)
Sergei's theme - played often in the score See more »
Garbo earned the first NYC Film Critics Best Actress Award for this performance and she is fine, totally believable as the happily married wife and mother who permits an obsessed count to destroy her life. The production values are first rate with some very impressive moments: the opening tracking shot down the table laid with food, the ball where cinematography, sound recording and editing all work together to seamlessly convey scads of dialogue (it must have been hell choreographing this), the meeting in the shadow and light filled garden by the pool, Garbo's entrance first seen behind a screen filled with steam (note Vivien Leigh's similar entrance in STREETCAR). Completely absorbing from start to finish and very worth your attention. Formerly available on MGM/UA video (now out of print) and just released on DVD to coincide with Garbo's birth centenary (9/05).
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