Anna Karénine

I loved this adaptation, which I watched over two nights. The casting and acting are, in my view, superb. All the characters seemed so authentic and Vittoria Puccini so believable as Anna. It is an outstanding production and I hope we will see more of this terrific actress. I can't understand why she hasn't already had more international recognition. Even though the voices had been dubbed, if that is the correct expression, it did not impact on the pleasure of watching the performance which again proves how extremely professional this has been put together. The costumes, filming, just about everything was captivating and, like the novel, I was disappointed when it ended.

I love the gorgeous camera angles from the view of a small pet. I had no idea the narrative was "dubbed" until the second time watching - expert timing. Vittoria Puccini's voice-over perfect.

This is my all time favorite Anna Karenina. Actors, wardrobe and sets absolutely gorgeous. About time. I have watched it three times. It did justice to the Tolstoy novel. Oh my beating heart be still , that Vronsky. Anna heartbreakingly gorgeous. The PBS 1977 version is good .

What an excellent find! I have had some misgivings about Anna Karenina on-screen adaptations - there is one I can think of that is downright embarrassing and some, while faithful to the source material one way or another, feel dated and even tedious.

But I was very happy and satisfied with this snowy, gorgeously shot adaptation. The narrative focuses evenly on Anna and Levin's individual story lines and their respective relationships - both of the characters intermittently narrate their stories and they finally feel like equals in importance to the whole Tolstoyan picture. It is refreshing to see how Levin's character is explored more thoroughly on-screen, and this version gives great justice to his search of real love with Kitty, faith with God and the meaning of life.

All of the actors hail from Western Europe and are probably not very well-known elsewhere, but they are all amazing and understand their characters well - the characters feel more human in this version than other versions, even than the book itself! Italian actress Vittoria Puccini is fantastic as Anna and not only does she fit the look, but she effortlessly tackles Anna's many paradoxes. Count Vronsky, played by the dark and very handsome Santiago Cabrera, brims with charisma and is a much-needed palate cleanser after a string of insipid Vronskys in previous adaptations. I suppose it is not a hyperbole that him and Vittoria make the most beautiful and sensuous Anna/Vronsky pairing on-screen to date.

What I also appreciate in this version is how the role of Dolly, played splendidly by Carlotta Natoli, is much more prominent as a character here than in previous versions and is given the credit that is due. She is not merely reduced to being Stiva's distressed wife, but a loving sister to Kitty, an active stimulus to Levin and Kitty's relationship, a loyal friend to Anna and a woman who knows when to stand up to her philandering husband.

In short, this is a very successful retelling of Anna Karenina that is rich with characterization and one which I really enjoyed from start to finish. Now I know which adaptation of the book I would recommend!

This is the best version of Anna Karenina I have ever seen. I was ecstatic, especially after the first episode! I can't imagine it being beaten by any versions I watch in future.

This version combines brilliant, compelling television with impressive fidelity to Tolstoy. It is fantastic to watch as a show in its own right, but it is also so true to the novel's thematic and symbolic purpose. It feels made by people who absolutely love the novel and want to bring out all its subtext.

Anna and Levin are included on an (almost) level pegging, and the film benefits hugely from that. The juxtaposition is perfectly conveyed between Anna and Vronsky's whirlwind passion, which lacks much else to sustain them, and Levin and Kitty's dedication, long-term persistence through rough times, and commitment to values beyond just the gratification of their own feelings. That is an important thematic part of the book - Anna's pure feelings-based approach, versus Levin's commitment to something beyond that - and it is transposed so faithfully in this miniseries. (Obviously, Tolstoy is nothing if not a man of God. This is partly a religious message about one couple who trust in God and do not make life all about themselves, versus another who (however sympathetic) flout God and marriage to pursue their own desires.)

I love how, on that theme, the film isn't shy of exploring Levin's flaws. We see Kitty not particularly bonding with him in the first few months, because he's so annoying. But just like in the novel, she shows Levin the loyal hard graft and teamwork that marriage is. (When she insists on helping him care for Nikolay!) It is through these values that they achieve ultimate happiness. This is very consistent with the novel and a very inspiring lesson for all of life.

It includes so many vital scenes absent from other adaptations. Kitty's sojourn at the military hospital is included - as is Varenka! This is a vital part of Kitty's arc, as it helps her grow out of vanity and look outside herself more. Even the disabled soldier who falls in love with her is included. That is how you know these filmmakers love the novel! Again, that storyline links to the broader theme about the best romantic relationships being defined by commitment, not breathless infatuation. Of course, it is right that he goes back to his wife.

(Shoutout to Kitty in general actually. Her actress is wonderful.)

The Anna/Vronsky storyline is also done so well. The ballroom where they dance for the first time is exquisite. The buildup to them getting together is very well-realised, and builds up tantalisingly slowly. It makes their relationship feel like a genuine payoff. Frou-Frou's death is genuinely sad to watch, and it is more than enough foreshadowing that Anna and Vronsky's impulsiveness and passion - however compelling to watch - are not going to end well. A special shoutout has to go to Vittoria Puccini - my absolute favourite Anna across the adaptations I have seen. She is phenomenal. She conveys Anna's charisma and gravitas brilliantly, but also her dangerous depths of passion that fester into erratic and self-destructive behaviour.

There are just two things that bar this miniseries from perfection. The first is that Levin's actor is slightly too old. He is quite physically imposing, which I don't think Levin should be. He's got his personality pretty spot-on, and his relationship with Kitty is wonderful. It's just not what Levin should look like - in my opinion! He should be more youthful.

The second is that Stiva Oblonsky has been significantly reduced, and he has no scenes with Levin. That is a shame, because Stiva and Levin's conversations about life are a crucial part of Anna Karenina. We don't see the geeky, debating side of Levin in this film much, precisely because Stiva isn't there to bring it out in him. That is a crucial part of humanising Levin, and so its absence is a shame. Also, Stiva is a wonderful character in his own right, symbolising how even people who do unpleasant things (adultery) can be likeable and charming in other ways.

But they are my only complaints; this is a phenomenal production overall and definitely the best we have had so far. It combines faithfulness to Tolstoy, thematic richness, and fantastic character interpretations with very satisfying production values. And to reiterate - Vittoria Puccini's performance as Anna is second to none.