Anna Karenina Page #8

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
2,762 Views


Countess Vronsky remains sitting. Annushka packs away Anna's blanket

and pillow. Anna looks out of the window.

34

ANNA:

I'll come back.

Anna moves to the door opening on to the "porch." Vronsky is on the point

of entering. He steps back to allow her by. They barely exchange a glance

as she passes him, but, simultaneously, each of them looks back. Anna looks

away quickly. His look lingers before he turns away to enter the carriage.

INT./EXT. PORCH--DAY

Anna, from her vantage point spots Oblonsky, calls to him. Annushka,

with her bag, comes onto the porch and descends to follow her mistress.

EXT. PLATFORM, SAME TIME--DAY

Anna steps down to the platform and embraces Oblonsky. They are delighted

to see each other.

ANNA:

(ACCUSINGLY)

You don't look ashamed.

OBLONSKY:

(CONTRITE)

I am, I really am.

INT. TRAIN, SAME TIME-- DAY

Countess Vronsky remains in her seat. Vronsky bends at the window, look-

ing at Oblonsky and Anna.

35

VRONSKY:

Yes, of course. Oblonsky's sister . . .

Karenina.

COUNTESS:

Charmante, don't you think?

(to her Maid)

Wait for me in the carriage. I'll take Tosca.

She takes the dog. The Maid leaves with her bag.

VRONSKY:

. . . You stayed longer in St. Petersburg.

COUNTESS VRONSKY

Long enough for you to start a little love

affair, I hear.

VRONSKY:

I can't think what you're referring to,

Maman.

He glances back to the window, where Anna turns back to enter the train.

EXT. PLATFORM, SAME TIME--DAY

As Anna turns back, a Railwayman with a hammer for tapping wheels

is in her way. He steps back for her with a bow and a "Madame!" Anna

glances at him and moves past him. The man taps a wheel, making a ring-

ing sound which means the wheel is okay.

As Anna mounts the steps, a Train Guard looks up and down the plat-

form, holding a green flag.

36

INT. TRAIN, SAME TIME-- DAY

Anna enters from the porch.

ANNA:

There, Countess, you have found your son

and I have found my brother.

COUNTESS VRONSKY

Madame Karenin has a son, too. It's the first

time they have been apart, so she frets about

him.

VRONSKY:

Excuse me for not recognizing you before.

COUNTESS VRONSKY

We passed the time telling each other about

our sons.

ANNA:

Yes, I've been hearing all about you.

VRONSKY:

That must have been very boring for you.

The ringing sound of the wheel-tapper's hammer is faintly audible in

Anna's hesitation. Anna shuts off the gallantry.

ANNA:

Au revoir, Countess.

COUNTESS VRONSKY

Au revoir, my dear. Let me kiss your pretty

face.

37

Countess Vronsky does so. Anna turns to offer her hand to Vronsky. As

Vronsky takes her hand, the train lurches and moves, unsteadying them

both.

EXT. PLATFORM, SAME TIME--DAY

Oblonsky-- and everyone still on the platform--is shocked by a dreadful

scream and shouting. The train, having moved a few feet, stops. Oblonsky

hurries towards the scene of the accident, right opposite the gate. The Station-

master overtakes him.

EXT. TRACKS, SAME TIME, DAY

The Wheel-Tapper lies between the wheels, mangled.

Oblonsky joins the horrified onlookers. The Guards Officer arrives, too,

with his bouquet. Then Vronsky arrives. He turns to the Guards Officer.

VRONSKY:

Keep your people inside until this has been

cleared up.

EXT. PLATFORM AND EXIT GATE--DAY

Countess Vronsky, Vronsky, Anna and Oblonsky, Oblonsky almost in tears,

come towards the gate. A Porter follows with Anna's large suitcase, hat-

boxes, etc. Annushka has the travelling bag.

OBLONSKY:

. . . the sole support of a large family, they

say.

38

ANNA:

Can't anything be done for them?

Vronsky glances at her.

VRONSKY:

Wait for me, Maman.

Vronsky retraces his steps.

COUNTESS VRONSKY

(TO ANNA)

I've you to thank for that.

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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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