Anna Karenina

If your prime reaction to a film is one of disappointment there are usually some good reasons. My principal response to this version of a great and well-known story is one of irritation. The overblown theatrical format of the film gets in the way of character and dramatic development, to the point where you're aware of a director proclaiming "aren't we clever with the way we're staging this?" instead of admiring the straightforward and competent telling of a story. I'm not saying all films have to be constructed in a conventional manner, but when the form overtakes the substance something has gone wrong.

Aaron Taylor-Johnson as Count Vronsky is a piece of serious miscasting. Instead of looking like a great lover and sure temptation for wavering Anna,he looks like some feeble dandy with his foppish shock of dyed curly blonde hair which makes him look quite ridiculous. How on earth Anna could fall for such a creepy-looking guy is beyond most viewers I would submit.

Keira Knightley does the best she can, despite looking most of the time like she's attending a fashion shoot. The character of Anna requires portrayal of a tragic life which she doesn't quite achieve. However, the whole film fails to convey the grandeur of Tolstoy's vision, so she's let off the hook by the film's general levity and lack of substance.

Director Joe Wright's adaptation of Leo Tolstoy's 1877 novel Anna Karenina is one of the most visually stunning and artistically bold films I've seen in quite some time. Wright places most of his plot within the confines of a dilapidated theatre and has his actors make use of the stage, stalls and behind the scenes areas when forming the sets of late Tsarist Saint Petersburg. Actors will walk from one part of the theatre to another with sets and costumes changing around them, all with the hustle and bustle of both a real theatre and lively city. It's a stylistic decision which was probably met with scepticism by studio bosses and the like but works incredibly well to bring to life the characters which themselves are so wonderfully written by Tolstoy.

Joe Wright was lucky in a way in that he started off with a fantastic story, written by Tolstoy. This was then adapted by Oscar winning screenwriter Tom Stoppard who handed Wright and his cast a beautifully well crafted script which despite its complexities, rolls of the tongues of the talented cast. I have never read the source novel and have in fact never managed to finish any of the great works of Russian literature (the names don't help) so the plot was new to me. The themes of love, infidelity, trust and city vs countryside-life charge out of the screen and most are tackled very well. One area which I thought was slightly forgotten was the fascinating part of the plot regarding Levin (Domhnall Gleeson). Levin is in love with an attractive and highly sought after young Princess, Kitty (Alicia Vikander). His tale of love, family, hardship and politics feels slightly brushed to one side which is a shame as his arc also points towards the social upheaval which would greet Russia in the coming decades.

The first half of this film was probably my favourite half of any I've seen in the cinema this year. It whizzed along thanks to the dialogue, plot and interesting design. The problems that I have with some period dramas such as dull ideas and duller characters felt a million miles away as I watched, transfixed with a smile on my face. The highlight of the entire film for me was a ball in which some of the central characters danced. This was a scene full of careful manoeuvring, examination and lust as the two lovers become intimate for the first time. Onlookers watch on as Anna and Count Vronsky dance a waltz to an ever quickening pace. Kitty watches with horror as she sees the man she thought was hers slip away. The dancing itself is beautifully choreographed and came as close to art as I've seen dance be. Due in part to the nature of the story, the second half of the film doesn't quite live up to the pace or intensity of the opening half but is nonetheless interesting, dark and impressive.

There are three things which make Anna Karenina one of my favourite films of 2012 so far. The first is the story, the second is the direction and the third is the acting. Every single member of the cast dazzles here with not one actor giving a misjudged or poor performance. The standout for me is Jude Law whose mild mannered and restrained performance is simply incredible. He maintains grace and dignity despite having a terrible spell thanks to Anna and Law manages to convey all of his emotions in a similar understated way to Gary Oldman did with Smiley in Tinker, Tailor, Soldier, Spy. He also makes the audience feel incredibly empathetic towards his character. For an actress I'm not particularly fond of, Keira Knightly has somehow found herself with two excellent central performances in two of my favourite films of the year; this and A Dangerous Method. She feels like the go-to-girl for this type of role and is excellent although my girlfriend rightly points out that when she smiles, she looks like she's about to cry. Aaron Taylor-Johnson also gives a good performance, despite comedy moustache, as the dashing lover. He is believable as the swarve and arrogant cavalryman but is outplayed by Law in later scenes. It's funny to think that ten years ago it would probably have been Jude Law in the Vronsky role but he has matured as an actor in recent years and can carry off a character like Karenin with aplomb. Another standout is Matthew Macfadyen who plays more of a comedy character but plays it gracefully. Domhnall Gleeson is also superb as Levin.

Despite the great acting this is the director's film. The style is so bold that at first I was worried that it wouldn't work but to keep a city as vast as Saint Petersburg inside one theatre then having the rest of the world to play with outside the city was a fantastic idea which was pulled off with pinpoint precision. There are flaws, for instance it felt slightly too long and some areas weren't given as much attention as I'd have liked (two contradictory statements I know) but overall Anna Karenina is a enchanting film and one of the best I've seen so far this year.

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The lead virtue - Jude Law as Karenin. The worst sin - the mixture of pieces from everywhere for create the atmosphere. The theater is a nice idea but only better used . Virtues - the portraits of Levin and Kitty. Problems - a not reasonable Vronski and imposibility to feel the drama of Karenina. Short. It is a film without soul. Images, inacuracy, a kitsch Russia and a sort of "ad usum Delphini" adaptation. Too noisy, too vulgar, using the not inspired actor for Vronsky and proposing a hard fight to Keira Knightley for create her Karenina. Short, a film without purpose. And that is all.

Good production but doesn't quite hit the spot.

Set in 19th century Russia, a married aristocrat, Anna Karenina (played by Keira Knightley), starts an affair with a Count. After a while, the relationship becomes quite serious...

A decent adaptation of the Tolstoy novel. Lavish costumes and sets, and a sense of the emptiness and superficiality of Russian aristocracy. However, for all its intrigues, just doesn't quite hit the spot. Not entirely engaging and seems to drag in segments. Some of the imagery was just to clever for its own good, ending up feeling pretentious.

Solid performances all round. Jude Law is the best of the lot, as the conservative husband of Anna Karenina.

This adaptation of Anna Karenina is a very flat adaptation of one of the greatest pieces of literature, but actually it is not only a failure as an adaptation but disappointing also on its own merits. It is not without its redeeming qualities of course, the costumes and sets are gorgeous and some of the best of the year, the music is beautifully composed, Jude Law is a superbly restrained and dignified Karenin and Matthew Macfadyen and Domhnall Gleeson are similarly excellent as Stiva and Levin respectively. Keira Knightley in the title role however didn't do it for me. She tries but comes across as too young and too selfish, and I also didn't care at all for her over-earnest mannerisms. The weak link of the cast is the woeful miscast that is Aaron Taylor-Johnson's Vronsky, often too moody and wooden as well as too effeminate and foppish, so much so it comes across as creepy. The script is very stilted and lacking in any kind of heart. There is a lot of melodrama as well but it comes across as forced, while the switching from play-within-a-play to film is confusing. The story similarly suffers from pedestrian pacing and the drama and characters are too thin to make us properly care and that is including Anna, whose attempts to overcome her suffering is entirely too trivialised here. Even bigger of a problem was Joe Wright's direction, I loved Pride and Prejudice and especially Atonement so I hoping a similar kind of directing job. But Wright often seems to be paying attention to himself too much, with the camera work too incongruous and surreal. Everything, from the gimmicky theatrical elements to the ball scene where the dancing is so robotic and where you don't have a clue what dance style it's supposed to be, plays too much of an overblown musical but without song and dance. In conclusion a disappointment even on its own, for me a beautiful bore is a very apt summing up as to how I felt about it. See the Greta Garbo and Vivien Leigh films instead. 4/10 Bethany Cox