Anna Karenina Page #26

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
2,765 Views


When I'm mowing, I don't ask myself why

I'm here.

THEODORE:

You're here to be master, Konstantin Dmi-

trich, to be your father's son, and father to a

son who will be master after you, as it has

always been by the grace of God.

LEVIN:

My father owned you, Theodore. My grand-

father owned your father. Owned you like

chattels, to be bought and sold. Was that by

the grace of God?

THEODORE:

It was. Those were good times when your

father had the keeping of us. That's my

youngest you were looking at there. His

young life is perilous now since the Free-

dom came and work must be found.

115

LEVIN:

It's true I was looking at him.

THEODORE:

(LAUGHS)

At his wife too, I dare say.

Levin is abashed, found out.

LEVIN:

They look happier than I've ever been. Is it

living simply that I'm looking for?

EXT. HAYMAKING (KASHIN)--NIGHT

Night under the stars. Some of the men have gone, some have settled in for

the night. The cooking fire is burning out. Levin remains where he was,

watching, thinking: drawn to "the simple life."

EXT. HAYMAKING (KASHIN)--DAWN

Levin wakes . . . woken by hoofbeats and the jingle of harness.

Levin sees a coach coming towards him. The coach comes nearer, leather

boxes strapped to the roof.

Levin sees that a young woman is looking out of the side window, holding

on to the white ribbons of her bonnet. He sees that it is Kitty, on her way to

Ergoshovo. (Princess Shcherbatsky is also inside, dozing.)

The coach passes on, leaving Levin lovelorn, the dawn light on him. The

sight of Kitty has turned him round again.

116

INT. STATION, ST PETERSBURG--DAY

AUTUMN:

Vronsky stands at the entrance to the platform holding a bouquet, waiting

for a train. He looks pretty fed up.

INT. "FRENCH THEATRE," ST. PETERSBURG--NIGHT

As before, the set-up is a small stage, a small auditorium, and an area for

drinking, cruising, etc., a combination of music hall and a bar with a few

tables. Vronsky is here as the escort of a Foreign Prince (an Indian), watch-

ing a "risqué" show with Can-Can Girls, much relished by the visitor.

Vronsky's glance casts about in the gloom. The champagne is flowing. Vron-

sky spots a trio--Lisa Merkalova, Betsy, and Stremov, a politician and

Karenin's rival.

Vronsky catches Betsy's eye. She beckons him. He excuses himself to the

Foreign Prince, who doesn't notice, and goes over to the other table. Under

the music, he is introduced to Stremov, and kisses the hands of the women.

He takes the empty chair.

VRONSKY:

He's some kind of prince at home. Exhaust-

ing. Where is Tuskevitch this evening?

BETSY:

Why ask me?

At which moment, Makhotin appears at the table. Vronsky relinquishes

his chair.

117

VRONSKY:

Captain Makhotin . . .

Vronsky bows to the women.

VRONSKY (CONT'D)

I must leave you. I'm on duty tonight.

MAKHOTIN:

Lucky woman. Give her my respects, and to

Karenin if you see him.

Vronsky freezes in anger.

BETSY:

Don't. Would you compromise me? And

Lisa?

Lisa and Stremov are enjoying it. Vronsky turns away. The Foreign Prince

is applauding enthusiastically when Vronsky rejoins him.

STREMOV:

(SMIRKS)

I only say that a man who can't govern his

wife has perhaps gone as far as he can go in

government.

INT. BEDROOM, VRONSKY'S FLAT, ST. PETERSBURG--

DAY:

Vronsky wakes. He has fallen asleep in his clothes. A note has been deliv-

ered, propped up by the bed. He reaches for it.

118

EXT. KARENIN HOUSE, ST. PETERSBURG--NIGHT

A cab brings Vronsky. The Karenin coach is waiting outside. As Vronsky

approaches the door, it opens and Kapitonich comes out with a folded rug.

Kapitonich is wrong-footed by seeing him. Karenin comes out of the door,

into the gaslight. When he sees Vronsky he hesitates for a fraction but con-

tinues. Kapitonich is holding open the door of the coach. Vronsky bows,

Karenin, expressionless, touches his hat and gets into the coach, taking the

rug. Vronsky walks into the house as the coach moves off.

INT. ENTRANCE HALL, KARENIN HOUSE, SAME

TIME--NIGHT

Kapitonich comes in, closing the door. Vronsky gives him his hat and coat.

KAPITONICH:

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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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