Keira Knightley as "Anna Karenina's" Joe Wright film
BOLDLY theatrical is an apt description of Joe Wright's new film interpretation of Anna Karenina, which stars Keira Knightley, Aaron Taylor-Johnson and Jude Law. If nothing else, it's bound to start a fashion frenzy for Russia.
It's always a challenge taking on something as epic a classic as Karenina - the expectation; the character depiction and dealing with that age-old problem love: when it goes right and when it goes wrong.
Set in 1874, Knightley plays the title role of Anna, the wife of Alexei Karenin, a high-ranking government official played by Jude Law. Journeying to Moscow to help save the marriage of her philandering brother Oblsonksy (Matthew Macfadyen), to Dolly (Kelly Macdonald), on the way, she makes the acquaintance of Countess Vronsky (Olivia Williams), and her son, the very suitably handsome Vronsky, Aaron Taylor-Johnson. It's here that the story starts - the spark between the pair instant and developing into something uncontrollable and ultimately devastating.
Dolly's younger sister too is infatuated with Vronksy, but is left heartbroken when it becomes apparent - too apparent - how in love and lust he is with Anna, something that she finds herself dangerously reciprocating all the while trying to resume her normal family life. What starts as passionate love affair unravels into an ugly mess, falling foul of society expectations of the time.
It's an incredibly visual adaptation, and Wright's way of combatting the aforementioned challenges is by way of the film's staging, setting it literally on a stage and as though you just might be at the theatre seeing this all take place.
The idea came about after extensive research into 1870s Russian society and wanting to create something that had never been seen before on screen. Yes, it's a clever mechanism; it certainly has an edge and sets it apart from any traditional and obvious comparisons and criticisms - scenery-swooping left, right and centre; characters dancing into place; a chorus of people typing to tune or whispering to a beat - but it's one that for die-hard fans of a period drama might jar and for those less bothered, they'll be confused to find this surreal sensibility, something that doesn't stay consistent throughout.
Knightley, as always, knows how to play an emotionally trauma-ed and tragic heroine - one who gradually becomes superseded by Cara Delevingne who makes her screen debut as Vronky's new and younger love interest. This, as well as a measured and effective performance from Law, is perhaps the most interesting things about the film. It's going to be one of those that you either love or hate - which, given that these two emotions feature so prevalently in the storyline, is rather apt.
vogue.co.uk
vogue.co.uk
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