Anna Karenina Page #4

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
2,761 Views


Have you guessed who she is?

OBLONSKY:

(rolls his eyes comically)

I have a suspicion. Why didn't you propose

when you were here?

LEVIN:

I decided it was impossible. Kitty is of the

heavens, an angel, and I am of the earth--

but then I thought and thought, and . . .

there's no life for me without her! . . . Do I

have a chance?

OBLONSKY:

Of course you do. The Shcherbatskys are

giving a soiree this evening. Get there early

before the crowd. If I may suggest . . .

LEVIN:

Anything! What?

OBLONSKY:

New boots.

LEVIN:

Right. Anything else?

16

OBLONSKY:

(HESITATES)

We'd better have dinner together.

Come on, we'll meet later at l'Angleterre.

Or do you prefer the Hermitage?

Oblonsky ushers Levin back into the general office.

INT. GENERAL OFFICE, SAME TIME--DAY

. . . Everyone stands up as before. The Doorkeeper produces Oblonsky's top-

coat and helps him into it.

OBLONSKY:

No--five-thirty at l'Angleterre--I owe them

more than the Hermitage, so it wouldn't be

fair to withdraw my custom.

(taking his hat)

Boots, and a coat. And a proper hat.

He ushers Levin out.

EXT. L'ANGLETERRE RESTAURANT, MOSCOW--DAY

Firstly, a Moscow street scene, busy with people going about their business,

on foot and in conveyances.

Secondly, Levin approaches L'Angleterre in his new fur-collared coat, top

hat and boots.

17

INT. L'ANGLETERRE RESTAURANT, MOSCOW--

NIGHT:

Oblonsky and Levin preside over the debris of three dozen oysters, with

champagne in a bucket to hand. Oblonsky is in a maudlin mood, afloat

on champagne.

OBLONSKY:

It's so unfair. You marry for love, you're

a good husband. Children arrive. Years

depart. And all of a sudden your wife is

tired, her hair is thin, her body . . . while

you yourself still have your . . . vigour . . .

and you find yourself distracted by a pretty

woman . . .

LEVIN:

Forgive me, but I find that incomprehen-

sible . . . As though I'd leave this restaurant

and steal a roll from a baker's shop.

OBLONSKY:

Well, you know, a freshly baked roll . . .

LEVIN:

But I'm talking about love, and you're talk-

ing about . . . your appetite.

OBLONSKY:

Easily confused. Now look, do you know

Count Vronsky?

LEVIN:

Who? No. Why?

18

OBLONSKY:

He's your rival. He turned up from St.

Petersburg after you left.

LEVIN:

(AGHAST)

Who is he?

OBLONSKY:

(CHANGING TACK)

You don't have to worry about him. He's

one of those rich, good-looking cavalry offi-

cers who've got nothing to do but make love

to pretty women . . .

A waiter arrives to remove the oyster shells, while an Elderly Waiter places

a bowl of soup in front of Levin and a lobster in front of Oblonsky.

OBLONSKY (CONT'D)

Cabbage soup?

ELDERLY WAITER:

Potage aux choux a la Russe, as the gentle-

man ordered.

LEVIN:

It's what I wanted.

Oblonsky laughs. The Waiter departs.

LEVIN (CONT'D)

(ANGRY)

Understand that for me, tonight is a ques-

tion of life and death.

19

OBLONSKY:

Oh, Kostya! Kitty would be mad to refuse

you. And Dolly is on your side, you know.

She says her sister Kitty was always meant

to be your wife and will be.

Levin jumps up in elation, collects himself, and sits.

LEVIN:

Dolly said that? I've always thought your

Dolly's a gem.

OBLONSKY:

Oh, she is, she is . . .

(THOUGHTFULLY)

I loved her to distraction.

INT. (ST. PETERSBURG)--NIGHT

A little out of focus and further obscured by puffs of steam, the wheels

of a locomotive and its tender plus a carriage or two, with part of the

superstructure--the whole kit and caboodle turning out to be a rich child's

table-top model railway--go by the Camera like a WIPE revealing the

momentarily gigantic face of Anna . . . who is crouching down to watch

the toy go by.

INT. DAY NURSERY, KARENIN HOUSE--DAY

Serozha is at present snivelling.

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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