Anna Karenina Page #44

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
2,774 Views


INT. NURSERY, POKROVSKOE, SAME TIME--DAY

Rain on the window and on the roof. The rain is so loud that it is the

foreground sound in the scene; and the dialogue, while we can pick it out

without difficulty, is the background sound.

Levin enters, wet.

Dmitri (Mitya), two months old, is lying on his back in a basin, supported

by Kitty's palm under his head. Kitty squeezes a sponge over his body,

which he likes.

196

LEVIN:

I came looking for you . . . I understood

something . . .

KITTY:

And what was that?

Kitty lifts Mitya onto a towel on her lap, wraps him and gives him to

Levin, who is enchanted by him.

LEVIN:

He smiled at me.

KITTY:

(UNCONSCIOUSLY ABSURD)

He's very advanced for his age.

She picks up her rings to replace them on her fingers.

KITTY (CONT'D)

What did you understand?

But the baby starts to yell for the breast. Kitty starts to undo her blouse.

Levin shakes his head: he'll tell her some other time, or maybe not.

EXT. PORCH, POKROVSKOE--NIGHT

The storm has passed. Everything drips.

Oblonsky comes from inside and lights a cigar. Indistinctly seen and heard

through the window, the Mushrooming Party occupies the dining room.

Oblonsky smokes thoughtfully, melancholy.

197

EXT. FLOWERING MEADOW--DAY

SPRINGTIME:

Baby Anya, old enough to stagger on her feet, wavers through wild flowers

half her height. She falls over, almost disappearing.

This is being watched, with a mixture more pleasure than pain, by Kar-

enin. He is in early retirement, sitting with a book in a garden seat, dressed

comfortably under a straw hat. There is the SOUND OVER of people

playing croquet.

Serozha, aged ten, enters his view, going to Anya to haul her upright, and

keeping hold of her hand as she staggers on. Karenin's pleasure increases

slightly.

OVER this, the growing SOUND of a battlefield.

EXT. BATTLEFIELD (BALKANS)--DAY

CLOSE:

Vronsky, in an unfamiliar uniform, sabre pointing forward, is mounted at

full gallop with the SOUND of the charge all around him in the smoke and

noise of guns. Something heavy and invisible with its own SOUND--like

the flap of an awning--takes him from his horse into the air and gone,

leaving spouts of blood poised for an instant in the smoke.

EXT. FLOWERING MEADOW, AS BEFORE

NATURAL SOUND:

198

Serozha picks up Anya like a parcel under his arm and walks on with her

towards the indistinct figures of Croquet Players strolling in the heat haze,

a couple of parasols held aloft.

FADE TO BLACK.

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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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Submitted by acronimous on June 13, 2016

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