Anna Karenina (2012)
I’m not sure if anyone was more excited than I was to see the newest remake of Anna Karenina, besides the families of the cast and crew. Sure, the story isn’t that great, but Keira Knightley is my favorite actress, and the preview made it look like a moving art gallery rather than a film. Even though I didn’t end up adding this one to my permanent collection, it was very entertaining.
The reason the film didn’t work was because of the casting. In the story, the title character is unhappily married to an older, pious man, and she has an affair with a handsome, virile, young man. Jude Law was cast as the husband, and Aaron Taylor-Johnson was cast as the lover, and this is why the film makes no sense. They tried to ugly Jude up and made sure he wore a perpetual scowl, but the audience is still very much aware he’s still Jude Law! Why would she stray? And if she must, why wouldn’t she choose someone so incredibly handsome, charming, and full of appeal that the audience understands and excuses her betraying “Alfie”? There wasn’t a single moment of the film that I was rooting for Aaron, and the fact that Keira sacrificed everything for him made me not respect or like her character.
That crucial criticism aside, the rest of the film is incredibly beautiful to watch. It truly is an experience, not just a film. Joe Wright, director of Pride and Prejudice and Atonement, knows how to capture Keira Knightley perfectly on camera. She’s so incredibly gorgeous, it’s almost stunning to believe she’s real.
The costumes, sets, and production values are some of the richest, most beautiful I’ve ever seen. The colors both blend and stand out among one another, and if you press pause during any given moment, you could easily imagine the frozen frame pained and mounted upon your wall. While the film took home a well-deserved Academy Award for Jacqueline Durran’s costume design, it was grossly underappreciated in its other technical aspects, and Keira was once again ignored for her incredible performance.
The reason the film didn’t work was because of the casting. In the story, the title character is unhappily married to an older, pious man, and she has an affair with a handsome, virile, young man. Jude Law was cast as the husband, and Aaron Taylor-Johnson was cast as the lover, and this is why the film makes no sense. They tried to ugly Jude up and made sure he wore a perpetual scowl, but the audience is still very much aware he’s still Jude Law! Why would she stray? And if she must, why wouldn’t she choose someone so incredibly handsome, charming, and full of appeal that the audience understands and excuses her betraying “Alfie”? There wasn’t a single moment of the film that I was rooting for Aaron, and the fact that Keira sacrificed everything for him made me not respect or like her character.
That crucial criticism aside, the rest of the film is incredibly beautiful to watch. It truly is an experience, not just a film. Joe Wright, director of Pride and Prejudice and Atonement, knows how to capture Keira Knightley perfectly on camera. She’s so incredibly gorgeous, it’s almost stunning to believe she’s real.
The costumes, sets, and production values are some of the richest, most beautiful I’ve ever seen. The colors both blend and stand out among one another, and if you press pause during any given moment, you could easily imagine the frozen frame pained and mounted upon your wall. While the film took home a well-deserved Academy Award for Jacqueline Durran’s costume design, it was grossly underappreciated in its other technical aspects, and Keira was once again ignored for her incredible performance.
Seamus McGarvey’s cinematography, combined I’m sure with Joe Wright’s direction and the way Tom Stoppard’s script was crafted, is what separates Anna Karenina from ordinary historical films. The entire film is sewn together seamlessly, with scenes folding into one another in different creative ways. One scene may show the characters walking off a literal stage, and the camera follows them as they walk to a different setting. Another may show an indoor curtain parting, showing the audience the snow outside, and the film continues outdoors. If you’re not expecting it, the style might feel jarring at first, but once you’re aware of the fluid structure, it’s glorious.
Watch the preview to get a feel for the style and see if you think you might like it. Even if you’re rooting against Keira because of her serious lack of judgement, it really is an engrossing film with many elements to appreciate, including a supporting cast with Kelly Macdonald, Matthew Macfadyen, Domhnall Gleeson, Alicia Vikander, Holliday Grainger, Ruth Wilson, Michelle Dockery, and Emily Watson.
DLM warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. There are a couple of scenes where the camera spins in a circle, and it might make you sick. In other words, “Don’t Look, Mom!”
Be sure to check out Hot Toasty Rag's review of 1927's Anna Karenina here!
Be sure to check out Hot Toasty Rag's review of 1935's Anna Karenina here!
More Jude Law movies here!
Watch the preview to get a feel for the style and see if you think you might like it. Even if you’re rooting against Keira because of her serious lack of judgement, it really is an engrossing film with many elements to appreciate, including a supporting cast with Kelly Macdonald, Matthew Macfadyen, Domhnall Gleeson, Alicia Vikander, Holliday Grainger, Ruth Wilson, Michelle Dockery, and Emily Watson.
DLM warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. There are a couple of scenes where the camera spins in a circle, and it might make you sick. In other words, “Don’t Look, Mom!”
Be sure to check out Hot Toasty Rag's review of 1927's Anna Karenina here!
Be sure to check out Hot Toasty Rag's review of 1935's Anna Karenina here!
More Jude Law movies here!