Reviews
Anna Karenina
Bob Vernon
Directed by Joe Wright
Certificate 12A, 130 minutes
Tolstoy condemned theatre as vanity. For him the tsarist
society was the real charade, a farce masking a tragedy. It is
ironic then that Anna Karenina has been filmed
at least four times. Wright’s translation to the screen is adapted
by Tom Stoppard, a man who has used the theatre to
pursue truth in philosophy, science, politics, and personal
relationships.
Wright adopts the theatrical metaphor brilliantly,
shooting most scenes within a theatre, including society
balls and a horse race. The choreography is subversive.
Servants dance in circles to meet their master’s every whim.
At balls, the aristocratic dancers employ elaborate gestures,
intertwining their hands and arms gracefully, but with no true
contact, no genuine intimacy.
It is on this stage that Anna (Kiera Knightley) meets and falls
passionately in love with Count Vronsky (Aaron Taylor-Johnson). I
think Knightley outdoes Greta Garbo and Vivien Leigh in her
portrayal of a woman driven mad by passion. Jude Law plays her
upright husband sympathetically, and Matthew Macfadyen plays her
promiscuous brother, Oblonsky, with a resigned but cheerful
bonhomie that may lead us to judge him less
harshly.
Levin (Domhnall Gleeson), is an earnest young landowner seeking,
like Tolstoy, a just way to order his estates. At the end of
the film we see his new wife, Kitty (Alicia Vikander),
defying social convention to wash a dying man’s body. In this
action she gives those earlier ballroom movements true grace,
a compassionate intimacy that strikes her husband dumb with
wonder. He has just learnt, from one of his workers, that it
is not reason that teaches us how to live, but love. He rushes home
to share this revelation with his wife, but Kitty’s actions
show that she already knows this, she is enacting what Levin has
been seeking. What she is doing is socially unacceptable and
absolutely right.
This is a visually beautiful film, photographed by Seamus
MacGarvery, about an elegant but ugly society, where highly defined
and meaningless hierarchies and etiquettes provide decorous
dressings for sewers.
What does it say now, where wealth is ever flowing upwards,
with conspicuous consumption mocking those compelled to live on an
unliveable ‘living’ wage, and where a government run by old
Etonians is making the poorest pay for the folly of the
richest? Where our Mcculture offers false promises of escape
through the lottery and the X Factor?
At one level Karenina is about the marriage contract, love and
adultery, but it is also about the social contract imposed by
the rich and powerful on the poor and powerless. As much as any
cuckolded spouse or betrayed wife they too are being shafted. Those
in power are faithful to nothing except their own desires and
interests.
‘Is anybody watching?’ asks Count Vronsky nervously, as Anne
initiates adulterous lovemaking in the woods. And she looks
upwards. She knows God is watching. But the church offered no
critique to these hedonistic tsarist aristos. Today the Russian
Orthodox Church offers no protest as Pussy Riot’s criticism of
Putin is condemned as blasphemy. In our own Western moral and
economic crisis our churches too seem muted or compromised. Anna
Karenina is a tract for our own times.
Bob Vernon