This is an ambitious movie.
A classic that has been remade three times, how to make it look different and break away from the previous editions? Director Joe White tried to come up with a solution - to reproduce it in the form of a stage play. But for me, I really don't like this kind of treatment. It is true that there are countless movies remade from the stage play, but most of them just add some stage play elements to express the characters on the basis of the core of the movie. But this Anna Karenina, a film remake of a world classic, chooses a nondescript approach to the stage play. First off, it feels awkward. I'm not someone who can't accept new things rigidly. I can also accept the use of a set board instead of a real scene in some scenes, but this film turns the element of the stage play into a dazzling presence. I can seem to hear Joe White whispering behind the guide tube: "Look, I added this pseudo group dance well!", "The virtual transition is really ingenious!" And so on. . . I was shocked at the beginning of the document dance, and the scene on the farm where the peasants waved their sickles and seemed to sing "Socialism is good" made me petrified on the spot. To be honest, Joe White's choice of this method is actually a very good choice. Placing Anna's life on the stage can add more helplessness to her life being watched and doomed, but some things are too much. , lost the agility of the film. My humble opinion: In a stage play, if you want to make the audience's attention focus on the characters set by the screenwriter in a group play, then use some special methods to deal with it (such as letting the "idlers" temporarily withdraw from the stage or remain silent). Nothing wrong in itself, but this is making a movie! ! ! The dominance is in the hands of directors and editors, and they should figure out how to make the characters jump out of a group scene, instead of making others disappear or make frequent transitions. If the boundaries between film and stage play are so blurred, why do you need sound effects? What are you going to edit? What about a behind-the-scenes production that lasted nearly a year or a few years?
Let's talk about the script and the acting. Anna Karenina started reading when she graduated from elementary school. Because of the guidance of some ****, she always naively felt that Anna was really brave in pursuing love! Karenin is bad silver! ! The first impression is the most important, so I still sympathize with Anna. But this version vividly portrays Anna as a bitch who is single-mindedly devoted to the mistress! Damn, if I hadn't read the original work, I would have wanted to push Anna to the track for Karenin! ! ! It's not that I think extramarital affairs are bad, but this version of Anna is too cheap to write! ! ! Suspicious, jealous, strong, not satisfied with having a good husband who loves you and endures you, he does stupid things without thinking in the name of pursuing love, keeps saying he loves his son, and as soon as he gets along with his lover, he forgets his son. . . I saw some comments saying that Keira is less extravagant. This is a matter of opinion. I think Keira can do a good job. Anyway, she has already mastered the classical style, and she can pass the station if she dresses beautifully. Tu Qiu's face was blocked by the beard, and the forbearance in his eyes was still in place.
BTW, if this movie wants to make a difference in next year's Oscars, it is estimated that the costume art can refer to these technicalities. Even if Keira is nominated by the Oscars, it is destined to accompany her. I feel that although she is working hard to improve, the role Not very suitable for her. And, in the film, when Anna was seriously ill and said to Karenin "Take his (referring to Vronsky) hand, I suddenly thought of another sadistic story... (Enough!!!)
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