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?
The retelling of France's iconic but ill-fated queen, Marie Antoinette. From her betrothal and marriage to Louis XVI at 15 to her reign as queen at 19 and to the end of her reign as queen and ultimately the fall of Versailles.
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 »
Would you die for love, Konstantin Dmitrich?
I would. But not for my neighbour's wife.
An impure love is not love, to me. To admire another man's wife is a pleasant thing, but sensual desire indulged for its own sake is greed, a kind of gluttony, and a misuse of something sacred which is given to us so that we may choose the one person with whom to fulfill our humanness. Otherwise we might as well be cattle.
Ah, an idealist!
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Count Vronsky is misspelled as "Vronksy" in the end credits. See more »
Closed in and Claustrophobic: I felt I could breathe only when the scenes escaped outside of the theater stage and onto the snow covered train depot or the green fields where Levin was sowing grass, or where love was a lazy-day picnic on the greenest of grasses, but only briefly and only disappointingly, after again finding myself cramped and stifled in a hot sweltering and old 19th century theater.
The ball room scene was excruciating. The dances and dancers themselves reminded me of a mix of street dance, country and western, and some invented Tim Burtonesque "Danse Macabre" for the purposes of being unique, strange, and possibly "histrionic". The moves were stiff and unflattering and I was embarrassed to watch Anna and Vronsky clumsily make there way through the physical distortions that made their clothes appear ill-fitting and as though they both had two left feet.
I could not feel the same passionate love between Anna and Vronsky in this movie adaptation as I'd previously felt in reading the novel. The emphasis on cinematic style and surrealism kept interrupting my wish to re-live and enjoy the story. Further, contradictory to the memories of my mind's eye of the handsome and manly Vronsky in the novel, I came to see him in the movie as bit effeminate-looking, weak, and depicted as a vulnerable little mommy's boy.
I paid my ticket expectant and hopeful but at the end and as I exited the theater I found myself confused, disappointed, and ripped-off.
Anna Karenina will always be one of the greatest experiences in literature I've had the pleasure of. But next time, as surely there will be yet a "next time", I'll simply pass on the movie.
I simply cannot bear the risk of seeing Vronsky look like that again.
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