Anna Karenina Page #40

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


ANNA:

Go to bed.

Vronsky comes in as Annushka goes out. He comes to Anna and puts his

arms round her.

178

VRONSKY:

Yes, it was my fault.

ANNA:

I won't sleep.

VRONSKY:

I know how to make you sleep.

LATER--IN BED

Vronsky makes love to Anna but it's not working for her. Her eyes stray

around. By the bed is a carafe of water, an empty glass and a pharmacy

bottle as dark as ink, with a handwritten label.

EXT. MOSCOW--DAY

High summer. Heat and dust.

INT. TEA SHOP, MOSCOW--DAY

Anna, with some dainty shopping by her, is taking tea in a genteel cafe. Her

eye is caught by a mother and son at another table. The boy is a "Serozha."

Anna misses her son acutely in that moment.

Then Dolly enters the tea shop. Anna's heart lifts for a moment and she

is about to greet her, but then realises that Dolly is one of a trio of "society

ladies," and Anna lowers her head. When she sneaks a look, she catches

one of the ladies whispering to the others. Anna realises that she has been

recognised by a stranger, and is notorious. She "hides" in her purse, finding

money to leave on the table so that she can escape. A sound makes her look

up and she sees that Dolly has sat down opposite her.

179

DOLLY:

Anna . . . I am very glad to see you. Are you

well? How is your little one?

Anna nods, words won't come.

DOLLY (CONT'D)

Stiva wanted to invite you and Count Vron-

sky to the house but it's impossible . . .

ANNA:

I understand.

DOLLY:

No, no--you don't. Kitty and her husband

are with us. She's in Moscow to have the baby.

ANNA:

Kitty . . . ? Oh, tell her how pleased I am . . . !

DOLLY:

Perhaps I'll wait a year or two.

(she gulps a laugh)

Oh . . . love!

ANNA:

Yes . . . love! Don't you disapprove of me for

what I've done?

DOLLY:

No. I wish I'd done the same. But no one

asked me! Well . . . I wouldn't have been

brave enough.

(she blinks tears)

Stiva, you know . . . he doesn't change . . .

like all men, I suppose.

180

She doesn't notice her tactlessness but it lands on Anna, who manages a

smile.

EXT. GRAND HOTEL, MOSCOW--NIGHT

INT. HOTEL SUITE, MOSCOW--NIGHT

Anna, in a nightdress, is awake in the night, staring out of the grand

window of a grand hotel, smoking.

INT. HOTEL BEDROOM, SAME TIME--NIGHT

Anna comes back to bed. Vronsky is asleep. She unstops a pharmacy bottle

(a different one) and pours a draught mixed with water.

INT. BEDROOM, MOSCOW HOTEL--DAY

Anna sleeps alone in the bed. Annushka, after a tap on the door, comes in

cautiously, worried.

ANNUSHKA:

Madame . . . Madame . . .

Anna sits up.

ANNUSHKA (CONT'D)

Are you ill?

ANNA:

What time is it? Is Anya up?

181

ANNUSHKA:

It's afternoon, Madame.

ANNA:

I'm all right. It's all right.

(PAUSE)

Get them to bring up all our trunks and

travel cases. We've been here long enough.

INT. HOTEL SUITE, MOSCOW--DAY

Vronsky comes in, noting the empty trunks and cases stacked up. Anna

comes from her room to greet him. She is making an effort to be pleasant,

but she looks excited, febrile.

ANNA:

I had an inspiration. Why do we have to

wait here? Why can't we wait in the coun-

try? I don't want to hear any more about a

divorce, or think about it.

VRONSKY:

Good! I'm bored here. When should we go?

ANNA:

If I bore you here, I'll bore you in the

country.

VRONSKY:

I didn't say you bore me. Moscow bores me.

When should we go? . . . Tomorrow?

But Anna's mood has turned.

182

ANNA:

I can't be ready by tomorrow.

VRONSKY:

The day after, then.

ANNA:

If you like.

VRONSKY:

No, wait. That's Sunday. I have to see

Maman.

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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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