And Law is magnificent in the economy and power of his portrayal of the cuckolded Karenin. Taylor-Johnson is a sensual Vronsky Anna's attraction to him is understandable, if a folly. Knightley exhibits a whole host of transformations on her face though she relies a bit too much on some obvious reactions to transmit emotions, she's an empathetic Anna, willing us to understand why she has done all she has done, in the name of love. Traditionalists may flinch at this interpretation, which distils Tolstoy's dense novel to its essence, focusing on Anna and Levin's quest for love - two sides of the same coin. It's all brilliant, even if it takes a while to get your bearings. The audience in the movie is Russian society, observing the drama as it happens. The unspoken, the underbelly, the illicit takes place above it, on the crossover and flyspace. Instead, while it is set during the late 1870s, it unfolds mostly in a theater, with the main events taking place onstage, under a proscenium arch. This isn't your usual costume drama with realistic backdrops and true-to-historical-detail scenery. During the end credits, director Joe Wright's Anna Karenina is said to be "inspired by" the classic Leo Tolstoy novel of the same name "inspired" is a fitting word to use.
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