Anna Karenina Page #32

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


OVER-- CHURCH ORGAN MUSIC

INT. CHURCH--DAY

A mere fragment of a long and ornate marriage ceremony . . .

The grizzled Priest lights two decorated candles, holding them askew in his

left hand, and he uses his right hand to touch Levin and, more tenderly,

Kitty. He gives the couple the candles, Kitty taking hers in her gloved hand.

Levin looks blissfully at Kitty.

142

MIX TO:

The Priest lifts crowns from their heads, and invites them to kiss each other,

relieving them of their candles.

The Choir bursts with pride.

INT. NURSERY, KARENIN HOUSE--DAY

The baby girl, two months old, is being fed by a Wet Nurse. Replete, the

baby is given over to the Nursemaid who lays the child in her crib.

Karenin watches all this. The women ignore him: they are used to him

now, and Karenin is harmless. Karenin stares fascinated at the baby, who

stares back.

INT. BOUDOIR, KARENIN HOUSE, ST. PETERSBURG--

DAY:

Anna stares at herself in the mirror. The act of raising a pair of scissors is

an effort. She isolates a thick lock of her hair, and snips it off.

INT. BEDROOM, KARENIN HOUSE--DAY

Anna's hair is short all over. She sits up in bed, listening to Princess Betsy,

who has brought the current gossip.

BETSY:

. . . and there was her husband wearing her

best ballgown, rouge all over his face . . .

ma chere, le scandale! . . . But I'd better tell

you some regimental news . . .

143

INT. ENTRANCE HALL, KARENIN HOUSE--DAY

Karenin enters and sees a glamorous Footman standing in the entrance

hall, holding a white fur cape.

KARENIN:

Who is here?

FOOTMAN:

Princess Elisabeth Federovna Tverskaya,

Your Excellency.

INT. BEDROOM LEVEL, KARENIN HOUSE--DAY

Karenin approaches the bedroom door.

anna (O.C.)

No--I don't want to see him.

betsy (O.C.)

. . . but your husband surely wouldn't . . .

INT. BEDROOM, KARENIN HOUSE, SAME TIME--DAY

Anna sees Karenin who is about to retreat.

KARENIN:

Please excuse me.

ANNA:

No--stay.

144

BETSY:

I am so glad to see you. Everyone asks after

you.

Karenin bows to her and kisses Anna's hand.

KARENIN:

You look feverish.

BETSY:

We have been talking too much--so I'm

going.

ANNA:

Princess Betsy came to tell me . . .

I don't want to hide anything from you . . .

Count Vronsky asked to come to say

goodbye--he's going away. I have said I

can't receive him.

Betsy kisses Anna.

BETSY:

Goodbye, my treasure.

Karenin follows Betsy out. Anna gives in to a moment of grief, and recovers

herself when she hears the crack of Karenin's knuckles. He comes in.

KARENIN:

I agree with you. As he is going away, there

is no need for Count Vronsky to come here.

145

ANNA:

I have just said so, so there's no need to

repeat it.

KARENIN:

But it is for you to decide.

ANNA:

Yes, and I decided.

KARENIN:

Then I am very glad that--

ANNA:

That we agree, so perhaps we can stop talk-

ing about it.

KARENIN:

Of course. Is there anything I can do for

you?

ANNA:

Yes, can you please please please stop crack-

ing your knuckles.

(PAUSE)

I'm a bad woman. But I can't breathe. Your

kindness which I can't repay, and your

FORGIVENESS--

KARENIN:

You begged me for my forgiveness.

ANNA:

But I didn't die and now I have to live with

it! If only you would have gone on hating me.

146

KARENIN:

But then--what? What? What do you want?

Do you know what you want?

Do you want to see Count Vronsky?

ANNA:

(QUIETLY)

Not to say goodbye.

KARENIN:

I can't hear.

ANNA:

Not to say goodbye.

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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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