Sparks fly when spirited Elizabeth Bennet meets single, rich, and proud Mr. Darcy. But Mr. Darcy reluctantly finds himself falling in love with a woman beneath his class. Can each overcome their own pride and prejudice?
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 to 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
The soundtrack for several of the country scenes makes use of a Russian folk song that was also adapted (but without the words) by Tchaikovsky in his Fourth Symphony, written in the same period as was Tolstoy's novel. See more »
Throughout the film every time Anna's son's name is spoken, it is uniformly mispronounced in four syllables using some wrong phonemes, whereas in Russian his name has three syllables. See more »
Tolstoi's Ana Karenina based on a digest for a middle school
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 "subRussian" "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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