First of all, the heroine is not beautiful enough. Keira's slightly "horse-faced" face and a figure that can't be squeezed out of the ditch can only be regarded as a "delicate young woman" in the UK, let alone Russia, which specializes in beautiful women. In what way is she like a "ruddy, turbulent" passionate young Russian woman? At the beginning of the movie, Anna relied on all kinds of eyes to attract Wrensky, but when the shriveled Anna narrowed her eyes, there was an illusion of "dear, are you shortsighted".
The heroine "Firewood Girl" actually doesn't matter at all. What's worse is that the two male protagonists are so handsome. Voronsky's blonde and blue eyes are completely Prince Charming, while Karenin—should represent pedantic and old-fashioned. The aristocratic dregs of affection-let Jude Law become a gentle and elegant forbearing handsome guy.
The screenwriter and director's editing also makes people think whether they have deliberately added two male protagonists—especially the role of Karenin. Instead, Anna's various actions became incomprehensible.
In the first half of the story, it was supposed to talk about the various happiness of the free love between Anna and Volensky, and Karenin's indifferent cold violence made Anna feel no love at all. But throughout the story, the relationship between Anna and Wolensky is treated as simple and violent. It seems that the two are passion + hunger, and there is no soul collision or the true feeling of "soulmate". With various symbolic plots, Anna seems to be just looking for a 419 who has the strength and time to dance with her and "play field".
At the same time, many close-ups and portrayals of Karenin are too delicate. Every time Anna talks to him, Karenin’s eyes will be given close-ups-Jude Law’s eyes are already charming, so repeated close-ups only give the audience a "Karenin is very affectionate." "a feeling of. In fact, many plots also point to this point. For example, the movie confessed that Karenin and Anna have a sex life-this shows that Anna does not have the loneliness of being an empty girl. In several scenes that laid the foundation for Anna's derailment, Karenin appeared on the scene. He took the initiative to pick up Anna in the ballroom, and Anna made various cold remarks without giving face. Anna cuckold Karenin in public at the racetrack, and on the carriage returning home, she had a fierce expression and a decisive direct showdown, and then slammed the car door and left. Karenin was hurt during the whole process. Before that, when someone reminded Karenin, Karenin's reaction that "Anna is my wife" was a good husband who supported his wife as a whole.
All kinds of fragments completely portrayed Karenin as "a kind of dull and inept affectionate man", while Anna was recklessly ignoring Karenin in all manners, and the feelings between her and Wolensky were even more lacking. "This is Underground love this is the struggle of derailing I am sorry Karenin" (only at the beginning there is a moral reflection of "I shouldn't do this"). In the first half, you can only feel Anna's coldness towards Karenin.
During the orgasm, Anna is pregnant. Anna almost deceived people too much—for both men. First, Anna bluntly told Karenin that I had a baby with someone else, and then continued to eat Karenin's and live with Karenin's, let Karenin live as her noble pregnant woman, and directly called her lover to Karenin's house for private meetings. . When Wolensky met Karenin, who had not left the house, even Wolensky felt too embarrassed and angered Anna. Anna didn't care and said, "That's because he might leave home on time."
——So, when Karenin finally made up his mind to divorce Anna, the audience will burst out with emotion of "Deserve it!"
Anna’s logic for the divorce is this: "Even if I cheat and I am pregnant with someone else’s child, you all must not say that I’m bad, you can’t exclude me, and the child of my ex-husband must also be given to me. Must follow me, and the lover who cheats on me must also marry me. Otherwise, I will make trouble."-In today's society, this is also a bitch, right?
In fact, even if Anna was pregnant with someone else's child, Karenin forgave her. Even forgave Wolensky. When he took the initiative to hold Voronsky's hands together, Voronsky actually held Karenin and cried. Two big men crying together in such a hug, you can only say, Anna, why did you wronged both of them? NS.
Since Anna chose her husband, she had to break up with Wolensky. In the end, she was making a fuss again, even saying "I only love Volensky". Karenin had to let go. Let’s spend time with Volensky, it won’t work—there is a magical plot: Anna insists on going to the prom, Volensky says you’d better not go, Anna is hysterical, "You dislike my divorce and shame you" , So Wolensky let her go, and as a result, someone said gossip about her at the prom. Lensky’s hysteria, "They bullied me, why did you let me go?!" In the
second half, Volensky actually still loved Anna. She was drinking and taking drugs, making all kinds of unreasonable troubles, and Voronsky was almost satisfied. , If you say you move, you will move, if you say you don’t see your mother, you won’t see you. Wolensky has changed from the "high-spirited playboy" to "Mr. Twenty-Four Filial Piety". But this can't stop Anna from going crazy. This just shows that Anna is not lacking in love, she is just acting.
At the end of the movie, Anna committed suicide—although she had become a mad woman before, she was somewhat shocked. When the scene is turned, Karenin is sitting gently on the lawn, next to his eldest son playing with Anna's illegitimate son. This is tantamount to reemphasizing "Karenin is a good husband + good dad", and it is tantamount to adding another kick to Anna-"this woman makes her own way."
It can only be said that Anna was not missed until the last shot of the film-the director, the scriptwriter and the actor... You are all Anna Hei!
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