A Russian Classic Revamped: Anna Karenina

From the get-go and throughout, Anna Karenina was breathtaking. Bearing in mind that I read the novel only once several decades ago and am not a purist when it comes to Russian literature, I believe director Joe Wright and screenwriter Tom Stoppard’s conceit for telling this story reached the heart of the matter. Some political ramifications were doubtless lost (despite an early scene that looked as if it could have come from Dr. Zhivago), but it’s clearly the love story (and the fall-out therefrom) that counts in this version. Fittingly, the railroad plays a recurring role in the story of Anna Karenina, and it’s a marvelous vehicle — snow-covered, city to country, country to city, mixing people, gentry, serf, drones. It separates young lovers, then joins them, then separates again. Nothing’s more thrilling than a train ride through the movies.

The theatricality of the entire enterprise was a never-ending delight. I was hooked from my first sight of the stage, the bird’s eye view available from the upper levels of the theatre, characters looking down on the room they just left, and turning turning turning to walk out of the stage set into a field of whatever it is that Domhnall Gleeson’s Constantine Levin and his freed serfs scythe. Visually splendid are the actors as well, with the traffic-stopping Keira Knightley as Anna Karenina in stunning costumes by Jacqueline Durran. Costumes and settings and certainly Ms. Knightley’s jewelry did not adhere strictly to the time period any more than the ballroom dancing did, but who could care if beauty took a left turn for a joyride. The dancing in particular was fanciful and clever and quite possibly the way the lower classes might have imagined the upper classes to have moved in those overly ornate rooms, as if a luxurious birth afforded people grace and rhythm to do the complicated, flowing movements.

Jude Law as Karenin (c) 2012 Focus Features

Who hasn’t said, to themselves or aloud, that just a few years ago it would have been Jude Law as Vronsky, and wouldn’t that have been swell. Well, yes, but I’m happy to see him grow into the mature man he is, playing surprising roles for the joy of it. Jude Law does some of his very best work, subdued and thoughtful, as the properly repressed yet unalterably kind Alexei Karenin. Matthew Macfadyen put aside his often dour countenance to be a playful brother to Anna as the philandering Oblonsky. The wonderful Kelly Macdonald represented all women as betrayed wife Dolly. Her reaction to Anna’s behavior is yearning and admiring, in sharp contrast to the women of high society, exemplified by Shirley Henderson as an unknown woman at the opera, where everyone recognizes Anna. In contrast, Princess Myagkaya (an elegant Michelle Dockery) was empowered with the strength to be loyal.

Matthew Macfadyen as Oblonsky

Country fellow Levin loves the lovely Kitty (a sweet, sullen, then warm and tender Alicia Vikander), who is smitten with the dashing Vronsky (a seductive Aaron Taylor-Johnson), who dooms Anna Karenina as quickly as he falls for her. The lovely Ms. Knightley and delicious Mr. Taylor-Johnson are beautifully intertwined throughout the film.

Alicia Vikander as Kitty and Domhnall Gleeson as Levin

Emily Watson was morose as usual as Karenin’s friend, the Countess Ivanova. She represents her times well in its beginnings of forward-thinking actions by privileged classes, fighting for social equality for all except her own gender.

Mr. Wright’s direction is bold and exciting, aided by gorgeous cinematography by Seamus McGarvey, expert film editing by Melanie Oliver, an extraordinary production design by Sarah Greenwood that combined imagination and history, allowing the imagination to win. All of this was accompanied by a thrilling and moving score by Dario Marianelli.

As I left the theatre, I saw a poster for A Royal Affair and recognized Alicia Vikander who had just played the delightful Kitty. While that hadn’t been on my short list of films to see (isn’t winter swell, though, sending us indoors even in daylight to keep warm in the movie house?), but Ms. Vikander’s lustrous performance in Anna Karenina may yet move A Royal Affair up the list.

 If Anna Karenina is still playing on a big screen near you, go enjoy the visual splendor. If you’re a Russian literature purist, I can’t help you but to say it’s a fine film in and of itself. Read the book again later. Much later.

 ~ Molly Matera, signing off to read a good book….