One
of the most famous tragic love stories by Leo Tolstoy appears again on big
screen. The well-known drama about a woman, who “broke the rules” has been
presented in several plays and filmed four times. However, director Joe Wright
with Tom Stoppard as a screenwriter enchant us with a new approach to this
literary classic. Historical costumes, Dario Marianelli’s great flow of sound,
starring the favorite Keira Knightley as the main character Anna Karenina are
all recalling the typical features of the director, who already transformed
novels like Pride and Prejudice and Atonement into movies. Like in his
previous pieces Joe Wright puts a big emphasis on the perspective of each
character while taking a picturesque path.
What makes
the movie most memorable and discernible from other adaptations is the original
setting of the whole complex story onto a stage. Not only does it create a
theatrical atmosphere, but also symbolizes the behavior of the Russian aristocracy
during the late 19th century. Firstly, their whole life was embraced by the
social events mostly set in theatres and also it depicts the superficiality of
the society at the time of the Empire. Some would think seeing a movie with only
one setting could be boring, however, the director occasionally takes us to the
“outside world,” therefore the scenes set in nature also mirror the escape from
the urban emptiness, which is best depicted in the scene when Levin (Domhnall
Gleeson) decides to say goodbye to this artificial world by opening the large
gates to nature. This original setting also allows simplification of the vast
number of places which appear throughout the novel, achieving a certain flow
from scene to scene and yet managing to focus on the details. The feel of flux
permeates the whole movie as it is arranged as a dance. The center scene – the
dance of the “forbidden lovers” Anna (Keira Knightley) and Vronsky (Aaron
Taylor-Johnson) – reflects the whole
noticeable choreography, meaning that every little word, every movement, and
even the costumes have their own role, is present throughout the film not just
in the dance scene. To the detailed composition adds, of course, the brilliance
of the Academy winner composer Dario Marianelli’s music which leads us through
the movie like a skilled and smooth dancing partner.
On the contrary, a perhaps more
critical approach should be taken in evaluating the cast. Although, Joe Wright
did not even consider anyone else for the main role besides Knightley, for most
of the viewers the young actress is not suitable for such a complex anti-hero.
Of course, though she looks beautiful in the costumes, the character of Anna
illustrated in the novel is nowhere near to the skinny stature of hers. Having
seen her in other Wright movies, Knightley presented the heroine in the same
manner as she has her previous roles: Elizabeth Bennet (Pride and Prejudice) or Cecilia Tallis (Atonement). Also, her acting partner Aaron Taylor-Johnson’s
performance of Vronsky was perhaps not acted in a way for which women would
break their marriage. On the other side, Jude Law as Karenin mastered the model
of a stiff “robot-like” husband, especially with his “knuckle cracking.”
Because of the great age difference it was even harder to imagine the “sweeping
everything away” kind of love between the main characters. Nevertheless, the
other adaptations being focused more on the physical nature of their affection,
Wright succeeded in making their relationship portrayed only by glimpses of
each other and occasional touching, in other words made their love a dance – a
passionate, but a tragic one.
Even if this
version of Tolstoy’s masterpiece was not received very well by the audience I
would certainly recommend it to the moviegoers who are interested in a new
interpretation of the overused story, an interpretation focusing on hidden
symbols rather than retelling the plot in a conventional form while not leaving
anything out. If not for the curiosity of how can a horse-race be set in a
theatre or for Dario Marianelli’s musical brilliance, then watch it just to get
a glimpse of what is happening in Joe Wright’s head, a mind so worthy of
attention.
