Anna Karenina Page #35

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
2,768 Views


KITTY (CONT'D)

And bring the perfume bottle in the outside

pocket of my handbag.

She goes back into the room and doesn't return. Levin, humbled, goes down

the stairs.

INT. GUEST ROOM, POKROVSKOE--DAY

Nikolai has been stripped. Masha washes his body. Kitty enters with her

arms full of clean linen.

156

LATER:

Nikolai lies naked in clean sheets. Masha hauls him up into a sitting posi-

tion. Kitty puts a nightshirt over his head. Nikolai protests feebly.

KITTY:

I'm not looking.

Masha and Kitty pull the nightshirt over his body. Kitty pulls the sheet up

over him. Masha adjusts the fresh pillow. She combs his hair (and beard).

LATER--NIGHT

Nikolai lies quietly in a neat bed in the neat room, with medicine and

water jug, etc., tidily by the bed. Masha keeps vigil by candlelight, holding

his hand, singing to him quietly.

NIKOLAI:

(WHEEZING)

I'm going . . .

INT. BOYS' ROOM, POKROVSKOE, SAME TIME--DAY

Levin comes into the room he shared with his brother. The room has been

abandoned for years . . . two bare beds, a washstand, a wooden chest. It

contains a jumble of books, shoes, a pair of skates.

Levin hears sleigh bells arriving.

EXT. THE HOUSE, POKROVSKOE, SAME TIME--DAY

The sleigh draws up, bringing a Priest.

157

INT. GUEST ROOM, POKROVSKOE--DAY

Levin, feeling out of place, is at the washstand. He notices there is a prettily

wrapped new cake of soap. He picks it up and puts it to his nose.

Masha and Kitty are kneeling by the bed. The Priest bends over Nikolai

holding up an icon in front of Nikolai's face and murmuring the prayers.

Levin, embarrassed, puts down the soap and comes forward and kneels too.

LATER:

Nikolai is at the point of death. Levin stares, torn between the mystery

and the lack of mystery, the ordinariness of the body finally wearing out.

The death rattle comes. Masha kisses the dead hand. The Priest continues

to murmur. Kitty takes hold of Masha's hand. Levin stares into Nikolai's

face:
if this is death, what is life?

LATER:

Nikolai lies dead, candles burning at his head and feet.

INT. DINING ROOM, POKROVSKOE--DAY

Levin counts money, for the services of the Priest . . . who is eating bread

and soup.

LEVIN:

Thank you, Father . . . and how much . . . ?

He offers a handful of paper money.

158

PRIEST:

At your benevolence. It is a custom, not a

levy, Your Excellency . . . Jesus overturned

the money-tables outside the temple, but . . .

He shrugs and puts the money away, and returns to his soup.

EXT. GRAVEYARD, POKROVSKOE--DAY

The snow is almost gone. Nikolai's grave has flowers strewn on the mound.

EXT. THE HOUSE AND YARD, POKROVSKOE--DAY

Pava's yearling and several more calves, delirious with release, mill through the

yard with the herd, to pasture, with a Herdsman and Laska urging them on.

Masha is leaving, alone behind the Coachman. She sits quietly and doesn't

look back. Levin and Kitty watch her drive away.

KITTY:

You're such an expert on love, Kostya . . .

why didn't you know it when you saw it?

INT. GOVERNMENT BUILDING, SAME TIME-- DAY

Lydia hurries along grand deserted hallways. She knows her way. A door

ahead of her opens and a dozen Politicians and Civil Servants carrying

portfolios cross her path, with Stremov at the centre of their unheard conver-

sation. Stremov is smiling, triumphant.

Lydia expects to see Karenin among them. She hurries on to the door they

came from.

159

INT. COMMITTEE CHAMBER, SAME TIME--DAY

When Lydia enters, Karenin, alone in the chamber, is sitting immobile,

defeated. He starts gathering his papers. Lydia comes to him. Her agitation

explained, she takes an opened letter from her bag.

LYDIA:

Alexei, they're back! Here in St. Petersburg!

She has written to me.

Karenin accepts the letter and reads it.

KARENIN:

To you? . . . I think I don't have the right to

refuse . . . It's the boy's birthday . . .

LYDIA:

My friend . . . you would be blowing on the

embers of a fire which must be allowed to

die . . . Let me write to her.

EXT. TOY SHOP, ST. PETERSBURG--DAY

Rate this script:3.0 / 1 vote

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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