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>
In a letter dated January 7, 1935 from David O. Selznick to Greta Garbo, Selznick told Garbo that he preferred a George Cukor-directed Dark Victory to Anna Karenina as a starring vehicle for her, and urged her to agree with him. One week later, in a letter to MGM director J. Walter Ruben, Selznick stated that he would do Dark Victory if he succeeded in purchasing the rights to the play at a reasonable cost and if Philip Barry consented to write the screenplay. Selznick pointed to the box office disappointments of Queen Christina (1933) and The Painted Veil (1934) as evidence that Anna Karenina would be an unwise choice for Garbo, and noted that Fredric March, who was "fed up with doing costume pictures," made it known that he would do Anna Karenina only if required to by his studio. Despite Selznick's best efforts to convince Garbo to do Dark Victory, she insisted on doing Anna Karenina, a story she had already done as a silent movie entitled Love (1927). According to a biography of Garbo, she was determined to do Anna Karenina because she did not like what she had heard about Dark Victory, and because she "had immersed herself in Anna Karenina and it was now too late to make an abrupt turnabout." Furthermore, a clause in Garbo's contract gave her the option to refuse to make a film if she disliked the script. See more »
Shadows of equipment are visible in the scene where Karenin confronts Anna. See more »
I told my son you were dead. Why do you make me out a tyrant who intervenes between him and you? It's easy for you to play the martyr... and destroy the new life I'm trying to build up for my son and for myself as you destroyed the old. And I shall not permit it.
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Unforgettable Version of Tolstoy's Classic Romance
In Imperial Russia, the aristocratic Anna Karenina (Greta Garbo) travels from Saint Petersburg to Moscow to visit her brother Stiva (Reginald Owen) and she meets the cavalry officer Vronsky (Fredric March), who came with Stiva to the train station to welcome his mother.
After a family reunion where Anna Karenina has a conversation with her sister-in-law Dolly (Phoebe Foster) to help to save Stiva's marriage, Anna is invited to stay for the ball. Anna Karenina is courted by Vronsky, but she decides to return to Saint Petersburg to her loveless marriage because of her beloved son Sergei (Freddie Bartholomew).
However Vronsky follows her and she introduces him to her husband Karenin (Basil Rathbone) at the train station. Vronsky woos her and soon they have a doomed love affair that will lead Anna Karenina to a tragic fate.
"Anna Karenina" (1935) is the first and the unforgettable version of Tolstoy's classic romance. Greta Garbor is perfect in the role of Anna Karenina, a beautiful and aristocratic married woman that falls in love with a man in a society repressive with the women's rights and feelings. The scene where her face appears in a cloud of steam is one of the most beautiful of the cinema history.
The grandiosity and the camera work of the initial scene showing the officer's table and the ball are still very impressive. The heartbreak conclusion of a woman destroyed by her love is very sad. My vote is eight.
Title (Brazil): "Anna Karenina"
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