Anna Karenina an adaptation of Leo Tolstoy’s literature now in the big screen just made its premiere last Friday, November 16th 2012. Starring Keira Knightley, Jude Law and Aaron Taylor-Johnson and directed by Joe Wright, Anna Karenina is a journey of a woman into a new phase of her life. Where she will be tested when it comes to happiness, love and the will to do the right thing. Anna Karenina received good reviews from different critics of the movie world. Let’s check out the movie review written by Lou Lumenick:
“ Re-imagining Tolstoy’s Novel With This Year’s Anna Karenina
A radical departure from the classic versions starring Greta Garbo and Vivien Leigh, Joe Wright’s “Anna Karenina” is a handsome, grandly theatrical reimagining of the Tolstoy novel starring his muse, Keira Knightley.
How theatrical? So theatrical that Wright literally places most of the action within the confines of a crumbling old theater — not only on the stage, but in the orchestra (sometimes with the seats removed), in the balconies, backstage and even in the rafters.
It’s an audacious choice meant to heighten the emotionality of the material — and the artifice affected by 19th-century Russian aristocracy — but it does have a certain distancing effect on the audiences.
Despite her usual tendency toward grimacing and nostril flaring — you’d think Wright would have learned to deal with this by now — Knightley makes a very fine Anna and could very well receive her second Best Actress Oscar nomination (after Wright’s more traditional “Pride & Prejudice”).
Knightley presents a more modern, neurotic take on a pampered and childlike mother of an aristocrat who naively gets swept up in a scandalous affair with the dashing calvary officer Vronsky (a somewhat colorless Aaron Taylor-Johnson of “Kick-Ass,” who’s handsome but no Fredric March in the acting department).
The real surprise here is Jude Law, who does the best screen work of his career in the usually thankless role of the dull, cuckolded Alexi — conflicted between his love for Anna and a desire to protect himself and their 8-year-old son from persistent gossip about his wife’s romantic adventures.
There’s also very fine work by Domhnall Gleeson as the smitten farmer Levin and the hilarious Matthew Macfadyen as Anna’s philandering brother, Oblonsky — two characters given more screen time than in previous film adaptations.
As cleverly adapted by Tom Stoppard, this is an “Anna Karenina” that’s pretty much guaranteed to polarize audiences.
It alternates scenes that emphasize the theatrical setting — sometimes actors freeze in place to accentuate an activity or exchange between two characters — with a few sequences shot outside, including some filmed in Russia.
I wish Wright had fully embraced the theatrical concept — rather than staging a horse race that takes place both inside and outside the theater.
Some of the acting in this very handsome production (with eye-popping costumes) is even synchronized to Dario Marianelli’s score — not unlike a musical from which all of the songs have been cut.”
The original content can be seen at the New York Post
Check out the latest film by Jacques Audiard entitled “Rust and Bone” right in this blog.