Anna Karenina Page #22

Synopsis: Anna Karenina (Keira Knightley), the wife of a Russian imperial minister (Jude Law), creates a high-society scandal by an affair with Count Vronsky (Aaron Taylor-Johnson), a dashing cavalry officer in 19th-century St. Petersburg. Anna's husband, Alexei, offers her a difficult choice: Go into exile with Vronsky but never see her young son again, or remain with her family and abide by the rules of discretion. Meanwhile, a farmer named Levin pines for Princess Kitty, who only has eyes for Vronsky.
Genre: Drama, Romance
Production: Focus Features
  Won 1 Oscar. Another 31 wins & 51 nominations.
 
IMDB:
6.6
Metacritic:
63
Rotten Tomatoes:
64%
R
Year:
2012
129 min
$12,802,907
Website
2,764 Views


Ah . . . My love.

He kisses her brow and her eyes.

97

VRONSKY (CONT'D)

Well, love was never a game to us. Here's an

end to living in corners, existing day to day

on lies. Yes, now we can be together.

ANNA:

How can we, Alexei?

VRONSKY:

Tell Karenin everything.

ANNA:

Do you think my husband will make you a

present of me?

VRONSKY:

Leave him.

ANNA:

Leave him and be your mistress?

VRONSKY:

Yes. Run away.

ANNA:

I would never see my son again. The laws

are made by husbands and fathers.

VRONSKY:

What, then? I'll never forgive myself for

your unhappiness.

Anna looks into his face.

98

ANNA:

Unhappiness? I'm like a starving beggar

who has been given food.

She smiles rapturously.

ANNA (CONT'D)

I unhappy? No, this is my happiness!

She kisses him deeply.

EXT. MAZE, KARENIN'S RENTED HOUSE,

TSARSKOE--DAY

It's a good maze. Anna and Serozha are running, laughing, between the

hedges. It's a game. She is trying to find her way to him, chasing him. A

hedge divides them. Serozha darts away from her, runs into a dead end,

doubles back. She spots him, follows him, and now he has eluded her again.

Serozha finds his way out of the maze and is confronted by Karenin.

KARENIN:

How are you, young man? Your tutor

doesn't seem to be in evidence. We'll have a

look at your lesson books.

Anna, coming out of the maze, sees Karenin, recovers.

ANNA:

Alexei!--you got away at last. Can you stay?

KARENIN:

Why . . . ?

Serozha looks scared to tears. Anna kisses him.

99

ANNA:

Go and find Vasily Lukich.

Serozha runs into the house.

ANNA (CONT'D)

I have to change. Princess Betsy is sending

her trap for me. Would you like to come?--

she's taking me to watch the race.

Karenin smiles coldly.

KARENIN:

Races, surely. No, I'll come on later, and

then I must get back to town.

Anna returns to the house. She wipes her kissed hand on her skirt.

EXT. THE RACES--DAY

This is a rough-and-ready racecourse but the venue for a high society occa-

sion, with a grandstand for top people and a grander section, ornamented

for greater comfort, for members of the Imperial family. It is also a fashion

parade for some.

The racecourse itself is an oval approached by a straight. There are nine

fences, water-jumps, etc., of various difficulty. The "jockeys" are officers in

the Guards, the Hussars and other regiments.

Among them is Vronsky, attended by a Trainer who is fussing over Frou-

Frou's bridle and calming her. Vronsky looks with interest at a big power-

ful horse which must be Gladiator, with Captain Makhotin already in the

saddle. Makhotin and Vronsky greet each other with a nod.

100

KARENIN:

-- arrives at the races . . . making his way towards the front, smiling,

raising his hat to acquaintances . . . his eyes busy looking for his wife. He

reaches the front and looks up at the Ladies' Stand.

EXT. THE LADIES' STAND, THE RACES, SAME TIME--

DAY:

Anna and Betsy are here, and, not far away, so are Countess Vronsky and

the Princesses Sorokina: the mother is a fading fortyish; the daughter is

eighteen, blonde and pretty.

Below the ladies section is a planked standing area for gentlemen, who also

may stand to watch the races from the stepped aisle of the seated section.

Soldiers, Horse People and Locals watch from the turf.

A race is flowing towards the winning post, with accompanying crowd reac-

tion, but it is clear from Anna's detachment, exchanging chat with Betsy,

that this is not Vronsky's race.

KARENIN:

--looks up to the ladies' stand. Betsy smiles at him in greeting, but Anna

seems unaware.

Countess Vronsky appraises the young princess.

COUNTESS VRONSKY

Exquisite creature . . . you really ought to be

the spoil of victory today . . .

The young princess smiles at her. Countess Vronsky turns her glasses towards

the Starting Post.

101

EXT. NEAR THE STARTING POST, THE RACES, SAME

TIME--DAY

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Tom Stoppard

Sir Tom Stoppard OM CBE FRSL (born Tomáš Straussler; 3 July 1937) is a British playwright and screenwriter, knighted in 1997. He has written prolifically for TV, radio, film and stage, finding prominence with plays such as Arcadia, The Coast of Utopia, Every Good Boy Deserves Favour, Professional Foul, The Real Thing, and Rosencrantz and Guildenstern Are Dead. He co-wrote the screenplays for Brazil, The Russia House, and Shakespeare in Love, and has received one Academy Award and four Tony Awards. Themes of human rights, censorship and political freedom pervade his work along with exploration of linguistics and philosophy. Stoppard has been a key playwright of the National Theatre and is one of the most internationally performed dramatists of his generation. more…

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