So when the director Joe Wright, who is best at shooting the British style, came with Keira Knightley and Jude Law to adapt this great work, watching how the leisurely British fan manages the tough Soviet-Russian style, people can't help but look forward to it. "Anna Karenina" has been filmed many times, and I have seen Sophie Marceau's version. It is a remake that is faithful to the original, but it is too dull. I watched the Siberian wind and snow and the high dance party. Almost sleepy, it is difficult to express the profound connotation and subtle details of this masterpiece in the two-hour length of the movie, and even Sophie Marceau can hardly conceal its downturn in such a well-regulated remake.
Using mediocre methods to tell a well-known story may be the biggest culprit in the remake of a classic. So, when I started watching Keira Knightley's "Anna Karenina" with a boring speculation, I found that the main creator started to tell this familiar story with a completely different perspective from the previous remake, and my heart suddenly rose up in detail. Of goodwill. The film begins five minutes, the interpretation and switching like a stage play, gorgeous and compact, full of ritual sense, and the director's ability to schedule is amazing. In just five minutes, he explained the context of the story closely with the original, which made people like it. This has become the tone of the entire movie, gorgeous and full of drama. Maybe I love this way of expression too much. The actors’ English accent is not abrupt to me. Sometimes, I even think that I’m watching Shakespeare.
Many people are saying that the KK version of Anna is not exquisite or beautiful, but as I watched her walking from Natalie Portman's stand-in with joy, I still found it beautiful and amazing. KK's sculptural face is still full of presence, and her almost all black and white dresses are also unforgettable. The black appearance of the first prom even has a kind of PUNK fan. The tough sexy reminds me of the cold fragrance of CHANEL she endorsed. Russia in the 19th century was not boring at this time. St. Petersburg's deep cold was permeated with a strong sense of fashion. This is reminiscent of Sofia Coppola's also criticized, but I think the dazzling "Queen of Eternity". The soundtrack of the movie is also radiant, spread out grandiosely, and smudge the plot appropriately. Music is the universal language of the world. Through it, I can feel the sadness and joy of the wind and snow in the 19th century without any effort. It is true that KK is somewhat powerless to manage such a huge role, but this is not a movie to be handed down to the world, and almost every frame of the picture can be seen as an oil painting. What are we still asking for?
Over a hundred years have passed, we have examined the woman named Anna Karenina in different time and space, some have soft eyes, some are sharp and mean. The director shared with us his love for Anna. The encounter between Anna and Wolensky and the handling of everything was very refreshing. He used a very British expression to explain the ultimate beauty of Anna moths fighting the fire, and finally the clip of Anna suicide. , So shocked that I almost shuddered, it was more like an exploration of freedom and martyrdom rather than desperate self-destruction. This kind of death is gorgeous and pure, and the energy rushing to the face is suffocating. It turns out that burning is the most extreme bloom.
Someone is singing: Once black and white, now brilliant. The KK version of "Anna Karenina" is not sad, it is gorgeous and unforgettable.
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