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Anna Karenina (1997)

PG-13 | | Drama, Romance | 4 April 1997 (USA)
Anna (Marceau) is a wife and mother who has an affair with the handsome Count Vronsky (Bean). Based on the novel by Tolstoy.

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(novel), (screenplay)
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Cast

Cast overview, first billed only:
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Lydia
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Saskia Wickham ...
Jennifer Hall ...
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Valerie Braddell ...
Ambassador's Wife
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Kapitonich (as Pyotr Sholokhov)
Niall Buggy ...
Doctor
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Storyline

Anna is a young and elegant wife of Mr. Karenin, who is wealthy and old. She meets the handsome Count Vronsky. Anna and Vronsky fall in love with each other, and he comes to be with her in St. Petersburg. They are very happy together and make a great looking couple, but soon their happiness gets under social pressures. Anna is hopelessly begging Mr. Karenin for a divorce, but he wants to keep the mother of their child. She has another baby born from her lover Vronsky. Conflict between her untamed desires and painful reality causes her a depression and suicidal thoughts. Written by Steve Shelokhonov

Plot Summary | Add Synopsis

Taglines:

In a world of power and privilege, one woman dared to obey her heart.

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for mature thematic elements and some sensuality/nudity | See all certifications »
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Details

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Release Date:

4 April 1997 (USA)  »

Also Known As:

Leo Tolstoy's Anna Karenina  »

Box Office

Budget:

$35,000,000 (estimated)

Opening Weekend:

$75,268 (USA) (4 April 1997)

Gross:

$791,830 (USA) (30 May 1997)
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Company Credits

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Technical Specs

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Sound Mix:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

In the 70's, producer Carlo Ponti had also wanted to make a Russian co-production starring his wife Sophia Loren to be directed by George Cukor. See more »

Goofs

Although the film claims to be set in the 1880s, the book must be set earlier than that because it was published in 1875. See more »

Quotes

Anna Karenina: What are you doing here?
Vronsky: You know that I have come to be where you are. I cannot help myself.
See more »

Connections

Version of Anna Karenina (1977) See more »

Soundtracks

Piano Sonata No. 2 in B Flat Minor, Op. 36
Written by Sergei Rachmaninoff
Performed by Howard Shelley
Courtesy of Hyperion Records by arrangement with Source/Q
See more »

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User Reviews

 
Somewhere inside this lukewarm movie, there's a very good movie struggling to get out.
7 March 2005 | by (United States) – See all my reviews

"Anna Karenina" isn't quite a terrible movie. The scenery is pretty; the score, courtesy of Tchaikovsky, is great; and the attempt to balance the two types of relationships is a noble one. Unfortunately, "Anna Karenina" is a severely hobbled movie.

The biggest problem, it pains me to say, is the miscasting of Sophie Marceau in the central role. She is never passionate enough to make us understand why she gives up everything for Vronsky (Sean Bean). Even during some of the more passionate scenes, she is still too composed and collected (Bean suffers from a similar problem, although not as severely as Marceau). Moreover, her French accent is seriously distracting. I admire anybody who can speak multiple languages, but it's all wrong for this movie. The wildly different accents destroy the rhythm of Anna and Vronksy's conversations, and it sometimes feels as though they're not even in the same scene. This, in turn, disastrously torpedoes their chemistry -- a fatal flaw when your entire movie is based on a hot, illicit love affair.

Ironically, both Bean and Marceau have their best moments after the affair goes sour. Vronsky's impatience is the first time we see true sparks from the character; Anna's hallucinations, and the separation from her living son, are genuinely disturbing.

The filmmakers try to juxtapose Anna and Vronsky's whirlwind affair with the slow-but-steady love that develops between rich Levin (Alfred Molina) and Princess Kitty (Mia Kirshner). Although the effort is noble, it has the same effect as the smorgasbord of accents, that of entirely destroying the movie's pace. It feels rushed and superficial in some places, but ploddingly slow in others.

Taken on its own, however, Levin's story is far more compelling than the main plot's lukewarm attempts at passion. Wringing every last drop of psychological depth out of the script, Molina gives a wonderful glimpse into the character's loneliness, melancholy, and eventual peace -- you almost found yourself wishing the movie were just about this guy. As his love interest, Mia Kirschner is a total lightweight and her Canadian accent is as jarring as Marceau's French one; fortunately, Molina has enough gravitas for both of them. If the script had been better, he would have brought the entire movie into warm focus.

As it is, the movie feels disjointed and rambling. Had it been better organized -- and perhaps differently cast -- we might have seen an interesting meditation on the various kinds of love. As it is, we see only a few bright spots amid a sea of disappointment.


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