Although a
new film adaptation of the famous novel Anna
Karenina was not well accepted by Russian critics, it cannot be denied that
it is a remarkable cinematic piece. Joe Wright in his previous directing
(especially in Atonement) proved quality
in his fresh and innovative style. In connection with Tom Stoppard’s screenplay
he was able to show the classical and notoriously known Russian story in an
exceptional light (the race and the ball are absolutely breathtaking scenes).
The metaphor of theatre as a life of high society, where everyone is
hypocritically smiling, lying and always pretending, leads us in the end to realize
that each one of us even today is wearing his own theatre masks; we are
pretending the impossible and then weep silently behind the scenes about our
small lives. But why, despite this very promising directing and script, is the
film not so touching as it could be?
Quite
surprisingly, if we look at the three main characters, the most interesting
performance given by Jude Law (Karenin, Anna’s boring husband). He is serious
and cold and yet passionate in his own way. He makes a lasting impression and
you have to feel sorry for him. He is alive.
Actually the audience takes his side instead of Anna’s and Vronsky’s and that
appears to be counterproductive. Aaron Taylor-Johnson (Vronsky) is not bad at
all, but, despite his undeniable talent, his performance does not enthuse; he
seems to be too young for such a part. Keira Knightley presents some strong
moments as well as some very weak. It seems that her performance is affected by
trying to look beautiful, even in moments which are absolutely inappropriate
for it. Anna Karenina is definitely
worth seeing. The directing is gripping and very visual. One just feels sorry
he was not as touched as he could have been.
