Anna Karenina Page #24

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


fan. Betsy gives Anna her fan.

VRONSKY:

--is restrained by an Officer.

OFFICER:

Her back's broken!

The Officer takes a pistol from his holster. Vronsky, enraged and in grief,

takes the pistol from him.

KARENIN:

--persists with Anna.

KARENIN:

I'm asking you . . . if you wish to go . . .

He touches Anna's arm. She jerks it away.

106

ANNA:

No, leave me alone.

BETSY:

I'll bring her home, Alexei.

KARENIN:

(SMILING POLITELY)

Excuse me, Princess, but Anna is not well

and I want her to come with me.

A gunshot is heard from the course. Anna turns her tear-streaked face

towards it.

INT. MOVING COACH--DAY

Anna's hysteria has solidified into a blank despair. Karenin seems to want

to pretend that nothing important has happened.

KARENIN:

You know . . . they say the Emperor dis-

approves of the races . . . the danger of

injury . . . but I . . .

Anna looks at him contemptuously.

ANNA:

What?

KARENIN:

I'm saying there is a value in manly sport,

for the military--

107

ANNA:

I don't understand.

KARENIN:

In my opinion, it's not the sport itself that's

wrong, it's the spectacle, it's making a cruel

spectacle out of--

ANNA:

What are you talking about?

Karenin changes tack.

KARENIN:

I have to tell you--

ANNA:

Yes.

KARENIN:

I have to tell you, you behaved improperly

today.

ANNA:

And how was that?

She has raised her voice. He raises a warning finger, and reaches to close the

communication window behind the coachman's box.

KARENIN:

By making plain your feelings when one of

the riders fell. Your conduct was improper.

It must not occur again. I have said it before.

Anna smiles faintly. He is misled by that.

108

KARENIN (CONT'D)

You are going to say my concern is unneces-

sary and ridiculous. You are my wife. I am

wrong to think that . . . yes--perhaps I was

mistaken.

Anna looks at him despairingly.

ANNA:

No, you were not mistaken. I love him. I

am his mistress. I can't bear you, I'm afraid

of you, I hate you. Do what you like to me.

Karenin is literally winded--gasping for breath, slowly getting his breath-

ing under control. Anna huddles away from him in her corner. Karenin

recovers himself only to the point of sitting stock-still, looking at nothing,

not moving.

The coach lurches, unbalancing him so that he is pushed against Anna. He

recoils as if from a contamination.

The coach slows. The coach stops. A Servant comes to the coach door, opens

the door.

KARENIN:

Wait, please. Move away.

The Servant backs off.

KARENIN (CONT'D)

I will not have a scandal. Therefore . . . You

will not see . . . this man again. You will

behave in such a way that nothing is known

against you, by society or by the servants.

In return, you will keep the privileges of a

109

wife--and the duties. Tomorrow you will

return home. That is all.

Anna gets out of the coach and runs into the maze.

EXT. MAZE--NIGHT

Anna comes to Vronsky. She is still shaken by the showdown with

Karenin in his coach, but is now overtaken by concern for Vronsky after his

fall.

ANNA:

Are you hurt?

Vronsky shakes his head. He is moved by the sight of her, full of love and

desire, but in her embrace he detects something new, a nervous exaltation.

VRONSKY:

What's happened?

ANNA:

I told him I'm your mistress.

Vronsky lifts her face, strokes her cheek. He waits.

ANNA (CONT'D)

He thinks I can give you up and go on

living.

He embraces her for that, relieved, grateful, loving--understanding that

she is not going to give him up.

110

VRONSKY:

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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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