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Anna Karenina (I) (2012)

 -  Drama | Romance  -  7 September 2012 (UK)
6.6
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Ratings: 6.6/10 from 52,797 users   Metascore: 63/100
Reviews: 205 user | 315 critic | 41 from Metacritic.com

In late-19th-century Russian high society, St. Petersburg aristocrat Anna Karenina enters into a life-changing affair with the dashing Count Alexei Vronsky.

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(screenplay), (novel)
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Cast

Cast overview, first billed only:
...
Eric MacLennan ...
...
Theo Morrissey ...
Cecily Morrissey ...
Lili Oblonsky
Freya Galpin ...
Octavia Morrissey ...
Tanya Oblonsky
Beatrice Morrissey ...
Vasya Oblonsky
Marine Battier ...
Mlle. Roland
...
...
...
Aruhan
...
Carl Grose ...
Bryan Hands ...
Mikhail Slyudin
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Storyline

In 1874, in the Imperial Russia, the aristocratic Anna Karenina travels from Saint Petersburg to Moscow to save the marriage of her brother Prince Oblonsky, who had had a love affair with his housemaid. Anna Karenina has a cold marriage with her husband, Count Alexei Karenin, and they have a son. Anna meets the cavalry officer Count Vronsky at the train station and they feel attracted by each other. Soon she learns that Vronsky will propose Kitty, who is the younger sister of her sister-in-law Dolly. Anna satisfactorily resolves the infidelity case of her brother and Kitty invites her to stay for the ball. However, Anna Karenina and Vronsky dance in the ball, calling the attention of the conservative society. Soon they have a love affair that will lead Anna Karenina to a tragic fate. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated R for some sexuality and violence | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

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Language:

Release Date:

7 September 2012 (UK)  »

Also Known As:

Ana Karenjina  »

Box Office

Opening Weekend:

$320,690 (USA) (16 November 2012)

Gross:

$12,802,907 (USA) (22 February 2013)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

|

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Saoirse Ronan was offered the role of Kitty but turned it down in order to star in Byzantium (2012) and The Host (2013). Her reasoning for turning down the film was its long production schedule which would have required her to turn down movie roles from Fall 2011 to late Spring 2012 in order to film what would have ended up as a supporting role. By turning down the role, she was able to take the lead role in two films. She was replaced by Alicia Vikander. See more »

Goofs

(at around 32 mins) While Anna is traveling on a train she was reading a book which was supposed to be in Russian. However, the word that appeared on the screen was in Hungarian "olajfestmény" meaning oil painting. See more »

Quotes

Alexei Karenin: What did I do to deserve this?
See more »

Crazy Credits

Count Vronsky is misspelled as "Vronksy" in the end credits. See more »

Connections

Version of Anna Karenina (1952) See more »

Soundtracks

Masha's Song
(uncredited)
Performed by Tannishtha Chatterjee
See more »

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User Reviews

 
Tolstoi's Ana Karenina based on a digest for a middle school
25 November 2012 | by (United States) – See all my reviews

This new "adaptation" is nonsense. Tolstoy's novel is about a woman who belonged to the upper class that governed the Great Russia, the country extending from Atlantic Ocean to Pacific Ocean, from Arctics to Afghanistan. Why is that Vonsky's mother, a princess by the title, is sharing a bench with senator Karenin's wife in a second class car where her son, price Vronsky finds them somewhere between third and the 4th raw? Their wealth allowed them to travel in a separate car and they often did! We were told from the screen that it was Russia of 1874. Well then how comes that Anna's "son" plays with train toys that run... on batteries? The cancan was normal for the working-class ballrooms of Montparnasse, but not for the aristocracy of Russian Empire exactly because it contradicted to aristocratic education and highly developed sense of taste. And amidst all of this nonsense we hear a bunch of "sub–Russian" "aj-lu-lu" songs that would be appropriate for the poor villagers but not for the Russian Aristocracy of this time. The movie appears to be staged in the backstage of a Café chantant. I was shocked to see that there is a hen sitting on the bookcase in Oblonsky's study. And why the Karenin's bedroom is situated in a huge hall with many columns in it? And his servants dressed as servants in bistro? Servants of aristocracy had to wear "la livrea", a livery, a uniform! I have impression that ladies jewelries were rented from a local Macy's store, while the entire picture was filmed in an abandoned provincial theater with broken walls and bad floor. And please notice that soup Marie-Louise is always with asparagus, so it is as inappropriate to mention this to the guests of Stiva Oblonsky's dinner. Extremely bad taste is obvious from about all scenes of the film. But so is the idea of this movie. We were offered just another attempt to present an adultère with a little bit attachment to un époux Russe. Unlike the world of commoners, Anna was not granted the freedom of choice because her divorce and remarriage was to be approved by the Most Holly Sinod, and the divorce lawyer, who was omitted from the film, was quite clear about this issue in his conversation with Karenin. This is why the drama had to be moved from the formal level to individual qualities of the people involved. And the only one who in my opinion reached this goal on behalf of Tolsoy was Jude Law, who was excellent as new Karenin lacking the common impression of a ridiculed husband. I understand that the "stamping" clerks from Oblonsky's office was added to the whole venture by Mrs. Wright and Stoppard as a token of their appreciation of Russian Avant-garde theatre, but it only enhanced the feeling of totally lost control over the flow of the drama. I am greatly disappointed. In my opinion, this film lacks good taste, understanding of Tolstoy's original idea, understanding of the characters, the time and circumstances of the drama, which together constitute a minimum requirement for a fair cinematography for classics adaptation. Don't even think to offer this thing to Russian viewers, because it will cause nothing but a belly laugh. Try to find and enjoy the Anna Karenina (1967) directed by great Aleksandr Zarkhi: this is a true piece of art, colorful and careful to every detail, the highest expression of a family drama without exits that explains its tragic end.


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