Tolstoy’s painstakingly managed realism and a large number of meticulous scene descriptions were designed to allow readers to be on the scene, while Qiao White’s treatment was the opposite, using stage scheduling to create a sort of alienation effect.
The audience exclaimed for the complicated stage scheduling, but was unable to engage in the emotional world of the characters. Apart from a gorgeous appearance, this alienation effect did not bring any benefits to the film's narrative.
In Russian novels, the desolation under the splendor, which is always pervaded by the bitter cold and the vast land, has also disappeared because of Joe White's "ingenious" treatment. The whole movie is really lively, except for Karenin, played by Jude Law, the other characters are like a group of English-speaking Italians.
Of course, another huge failure of the film was the casting of Anna and Wronsky. It is a tragedy if the protagonist chooses the wrong actor, and it becomes a comedy if both protagonists choose the wrong actor.
The excitement of the first act will soon pass, followed by an hour and a half of boring.
The excitement of the first act lies in the "dazzling" feeling caused by a large number of information connections, and when the information is in place, the weakness of the plot is inevitable.
Toon is not Alexandre Dumas or Dickens. His novels spend time on psychological description and social description, rather than dramatic plot advancement. Since Qiao White chose the staged form, he was unable to build a dramatic core with the materials of the novel. The discontinuous plot made the audience drowsy (more tragically, there was no suspense at all. Everyone knew that the ending of the story was what). As for the stage treatment in the second half, it is entirely to prevent a gorgeous empty shell from breaking, which is not only boring, but simply boring.
About Levin:
Actually, I don't have much interest in the story of Anna and Wolensky. The line of Levin that touched me the most in the novel "Anna Karenina".
Levin's youthful confusion and love anxiousness are still very touched when rereading.
To be honest, I like the performance of Levin’s clues in Joe White’s movie version. Both Levin and Kitty’s actors are very cute. Levin’s blue eyes are staring when Kitty wipes his brother. Time has slowed down.
Of course, the success of the segment cannot make up for the failure of the structure. Levin’s clues are forcibly retained in the film to take care of the readers of the original, and there are only a few abrupt segments, and the intertextuality with Anna is basically not obtained in the film. reflect.
As for the passages in the novel that touch the heartstrings of readers, such as Levin mowing the grass, or the interaction between Kitty and Valenga, the film is either superficial or completely deleted.
It's not about the strategy of deleting the complex and simplifying the movie, everyone knows that the capacity of the movie is small. However, if you can't capture the most moving moments, why not delete them more cleanly?
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