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Anna Karenina (1948)

Approved | | Drama, Romance | 27 September 1948 (UK)
A married woman's affair with a dashing young officer has tragic results.

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Writers:

(screenplay), (screenplay) | 1 more credit »
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Anna Karenina (1935)
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During World War I, believing her fiancé to be dead, a young ballerina loses her job and is forced to turn to prostitution.

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Cast

Cast overview, first billed only:
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Hugh Dempster ...
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Marie Lohr ...
Frank Tickle ...
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Niall MacGinnis ...
Levin (as Niall Macginnis)
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Mary Martlew ...
Ruby Miller ...
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Storyline

Stefan and Dolly Oblonsky have had a little spat and Stefan has asked his sister, Anna Karenina, to come down to Moscow to help mend the rift. Anna's companion on the train from St. Petersburg is Countess Vronsky who is met at the Moscow station by her son. Col. Vronsky looks very dashing in his uniform and it's love at first sight when he looks at Anna and their eyes meet. Back in St. Petersburg they keep running into each other at parties. Since she has a husband and small son, they must be very discreet if they are going to see each other alone. Written by Dale O'Connor <daleoc@interaccess.com>

Plot Summary | Add Synopsis

Taglines:

"And then his kiss crushed all the shame out of me, blotting out the vision of my own destruction!" See more »

Genres:

Drama | Romance

Certificate:

Approved | See all certifications »

Parents Guide:

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Details

Country:

Language:

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Release Date:

27 September 1948 (UK)  »

Also Known As:

Ana Karenina  »

Company Credits

Production Co:

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Technical Specs

Runtime:

| (cut) | (cut)

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Michael Redgrave was cast, but pulled out when he was offered Mourning Becomes Electra (1947) in Hollywood. See more »

Crazy Credits

Opening credits prologue (from the novel): CHAPTER 1 "All happy families resemble one another, every unhappy family is unhappy after its own fashion. Confusion reigned in the home of the Oblonskys". See more »

Connections

Version of Anna Karenina (1967) See more »

Soundtracks

Ruslan and Lyudmila Overture
(uncredited)
Music by Mikhail Glinka
Arranged by Constant Lambert
See more »

Frequently Asked Questions

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User Reviews

 
Vivien Leigh is a charming Anna- if only Keiron Moore was charming.
11 September 2012 | by (United Kingdom) – See all my reviews

I've now watched 6 Anna Kareninas (1935, 1947, 1961, 1985, 1997 and 2012) and this is up there as one of the top ones. Vivien Leigh is perfectly cast as Anna Karenina. There's just something about Leigh that suggests strength but also fragility, primness but also sensuality. She is totally believable as a sensible woman who would go silly over an affair, and believable as a fertile motherly type, frequently surrounded by children.

The object of the affair is the film's weak link- and it's a big one. Keiron Moore as the dashing Count Vronsky seems about as worldly as Anna's little son Sergei. You can sense Vivien Leigh trying to coax him into displaying some sort of dominant passion but Moore is hopelessly lost. His natural accent is Irish I think; his English accent sounds hopelessly strangled.

Ralph Richardson as Anna's bureaucratic husband Karenin is a bit too strong. He has the dominance that Vronsky should have and he displays his love for Anna too clearly. Anna is partly driven to her affair by Karenin's coldness so it makes the affair less credible. Their relationship is too loving- it often seems that there will be a reconciliation, as Leigh clearly has more chemistry with him than Moore.

Onto the supporting actors now. The Kitty/Levin story, although very pared down, is sweet and touching. Yes, they miss out all of Levin's philosophy and farming, but Sally Ann Howes is adorable as Princess Kitty, who gentleman farmer Levin hopelessly loves. It is also neatly tied together with the Anna story when Karenin goes along to their wedding- without Anna.

The film might seem a little dated but I enjoyed the focus on Karenin. There's a comic scene where Karenin goes along to a solicitors to ask about divorce and the solicitor seems a little voyeuristic. Where do I place it in the six AK films? I'm tempted to put it at number 2, just behind the Garbo one.


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