The most straightforward translation, "there are as many hearts, there are as many kinds of love", the new version of "Anna" puts the sentence of Toon at the front of the trailer, making it clear at a glance. In the previous set of character posters, "love" was given different definitions to different characters, romantic love, forbearance love, and cuddling love. No doubt, in this story that has long been familiar to audiences and readers, Anna The forbidden love with Vronsky is doomed to self-destruction, and the presumptuousness is so shocking.
Ignoring the slightly pretentious British adaptation of Russian classics, I really like the attempt of the new version of "Anna" to present a world-class classic with a strong sense of history in the form of a stage play. The stage play will deliberately alienate the audience's sense of substitution, giving the audience a silent reminder all the time, you are watching a play, you are not the person in the play, you need a holistic and global perspective, and to a certain extent, the audience does not have to Personal likes and dislikes and emotional impulses unilaterally label the characters as "good people" and "bad people", use a calmer mind to think about a series of stories that happened in an era, and can also be regarded as an alternative to Toweng's magnificent historical narrative To pay tribute, the history written by Toon is the stage, and in the film, the stage is the stage.
In fact, the adaptation of a famous book is a thankless and useless effort. There are a thousand Hamlets in the eyes of a thousand readers. No matter how hard an adapted character is fixed on the big screen by a movie, it will be difficult to satisfy the audience's dissatisfaction. The most difficult thing is that before the movie The audience has long determined the characters. When it comes to Anna, it must be said that she is free, enthusiastic, and eager to be loved, while Karenin must be a ruthless and selfish hypocrite, and Voronsky is a slut who plays with women, so it is not so much a movie. It is difficult to grasp the spiritual core of the original novel, it is better to say that the audience does not allow the film to subvert the paper man in their mind. In fact, Anna and Karenin are all tied to a specific history and environment. They can't get out of their era, and we can only see flowers through imagination. So Joe White set a visible stage for Anna's story, and the flat 19th-century St. Petersburg style painting on the background reminds us to let go of the values that belong to the 21st century, let go of the simple and naive truth, goodness and beauty, and go to that era to see and see Look at that era when a romantic affair can shock a country.
I don't quite understand how Anna's character garnered so much sympathy, love and even praise. If Anna's unfortunate marriage can be attributed to Karenin, then the tragedy of her fate is undoubtedly directed by herself. Anna is warm and emotional, Karenin is calm and rational, he may not love Anna, but he did not love her in the way that Anna imagined love should be. Love, in Anna's eyes, is romance, and in the eyes of Karenin, it is responsibility and timely advice. The huge gap between the two's understanding of love will give people an illusion, as if Anna seems to be just a girl who is indifferent, full of fantasies, sensitive and willful, while Karenin is more like a busy business person with an old-fashioned personality and can't get into her Inner world father. The girl wanted her father to accompany her to set off fireworks, but her father thought it was a meaningless and dangerous activity, so the girl found someone who was willing to accompany her to set off fireworks, but it turned out to be arson accidentally. It can be said that Anna's unrestrained pursuit of pure love stemmed from her loveless marriage with Karenin, but she herself magnified this pursuit into a dangerous game.
Falling in love with Vronsky was dangerous enough, but not dangerous enough to destroy Anna, where the tacit rules of 19th-century Russian high society acted as an invisible hand, moving things at just the right moment. There is a very attentive detail in the movie. Anna's brother went to and from the bureau several times. The staff rhythmically processed the documents and stood up to greet them rhythmically. This is the rule. Rules make people behave in the same way, and they numb their own brains while maintaining rhythm with others. Karenin is the person who observes the most "rules" in the whole story. He is deeply religious, abides by his duty, and behaves exactly as he should be a noble gentleman. In the whole incident between Anna and Vronsky, both readers and viewers may prefer to accept that he and Vronsky go to a duel, and it is unbearable for him to say to Anna indifferently, "You behaved a little gaffe today". It's not a bad thing to obey the rules. Karenin's biggest mistake is that he treats his wife like a gentleman with respect. Of course, in the eyes of Anna, who is very active in her inner world, rules are a bondage. Karenin is a bondage, and so is her social circle. The tighter the rules are, the stronger the rebellious power she suppresses. So when Vronsky, who she thought could liberate her, appeared, she could not stop like a girl in red dancing shoes. At this time, it is difficult for us to say whether Anna has a stronger desire to pursue love, or The desire to break the rules is stronger. Destruction will make people excited and even excited, vent their emotions as they want, and take revenge on everything that stands on the opposite side, but Anna can't see clearly. On the opposite side of her is the entire high society. She won't win applause for her helpless destruction, only It will attract side glances, stares, contempt, accusations, scorn, and even destruction.
So Anna's play ended with the tragedy she deserved. She enjoyed the love she wanted, but she still couldn't break the rules that imprisoned her. The ending that Toon set for Anna was too meaningful, and Anna might choose not to dance. Get off the platform, but the train will always pass from a fixed platform at a fixed time.
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