Oblonsky's guilt and fear didn't work well when confronted with Dolly. Especially at the beginning, there is a very beautiful detail that I think should be put into the movie. When Oblonsky was exposed, his expression changed and he actually showed the kind of simple and honest smirk that is used in the officialdom, which directly led to the escalation of the conflict between the husband and wife. This detail is so interesting that it shouldn't be missed by the movie version. The movie version puts Karenin's debut here. His passion for career and neglect of family was short-lived, but sufficient. Oblonsky was delighted and likable when he received Levin. Levin's restraint, overly serious and fateful pathos. It's a pity that Koznyshev's first appearance was cut off. The movie is too short. But I really like the character of Koznyshev. Kitty's childish beauty and her kindness, Vronsky's graceful decency, Nicholas's morbid, irritable, and inner-hearted kindness Levin's caring and frightening sullen air in front of Nikolai The presumptuous look Lunsky stared at Anna, the slight embarrassment and graceful grace that Anna had in front of his mother, the glance Vronsky gave Anna before he went to give money to the widow, Anna When he saw him giving money, he showed an unhappy pull down the corner of his mouth. When Oblonsky told her about Vronsky's relationship with Kitty, Anna's expression changed several times in the space of two seconds - first with a smile, then with an "oh", round almond-eyed surprised expression , when her brother's eyes no longer stayed on her face, she narrowed her eyes again, very much the way Ji Di couldn't watch her man's ridicule and pondering, and then her smile was full of dimple. Oblonsky said of Dolly with a melancholy expression: Ah, she is my wife, I respect her and love her, but she has lost her physical attraction to me, so what can I do. Dori's expression when she was persuaded by Anna was also great. There is a sense of helplessness, but also resentment and sadness. The alternation of these three expressions shows the complexity of the characters' inner activities, which is in place. I have to say that Anna's actor's performance in this section is not good. She has the kind of sharp eyes that she speculates on Dolly's heart, but she doesn't have the kind of sadness that Dolly said in the book at the beginning, she couldn't help it The sympathy of sadness with her. It is mentioned in the original book that Anna's sympathetic resonance made Dolly finally open up to Anna and be persuaded, and she is still full of gratitude to Anna long after. Anna and Gidi spoke with a "repressed spark of life" on their faces. On the night of Vronsky's visit to Oblonsky's house, Anna, although shocked, Happy, but didn't show it. It was Vronsky who was flustered. Such an adaptation makes Anna, who was originally Bichi in the original work, even more reserved. At the dance, Jidi looked innocent and immature like a young swan with just hair, while Anna looked like a mature and cold black swan with deadly charm and temptation. It's like a battle between two people. Ji Di was unprepared, and Anna was bound to win. I think that when Anna danced with Vronsky this time, she was simply "fired on fire", happy, and embarrassed and proud that she had taken away Kitty's male partner. It's not quite appropriate to deal with that kind of breathless heartbeat. Ji Di refused everyone's invitation to dance the mazurka but found herself left out by Vronsky, the panic and helplessness of standing aside watching Vronsky dancing with Anna was not shown. On the contrary, when dancing at that time, she showed no mercy to Jidi, and Anna, who was not sympathetic, seemed so guiltless in the movie. It was unreasonable for Anna to be a bitch, so where did she feel guilt. Not to mention that she will take Vronsky's dancing with Jidi to heart - she made a clear judgment early in the morning that Jidi is not an opponent and does not need to be taken seriously. Vronsky was not so charming and deadly confident when he first confronted Anna, he was humble, lest he would hurt Anna. This humble and cowardly but determined pursuit is exactly what Jidi sees through and is heartbroken, and what attracts Anna. that at your The inferior position of service made Anna's initial vanity satisfied. When Anna just got home, she had a moment of inner peace. It's not as rambunctious as in the movie. It was too tempting. Anna frequently met Vronsky in social situations, and the two secretly met with each other, and their hearts were up and down. It took about a minute for Vronsky's rejection of the new appointment, which I think is better than the original, which is too understated. When the two were arguing and Anna was distracted, Vronsky again mentioned his refusal to take office. I actually find this to be really cool. But this blunt expression wipes out the more chronic ambiguity and hesitation in the original. This seems too dignified. When Karenin discovered the hidden danger in the family, he tried to stop Anna not with love, but with words like "suitability" and "God arranged", which was the reason why Anna eventually went further and further-Vronsky tempted her with love, Persecuted her with leaving, while Karenin restrained her with social etiquette, warned her with God, and threatened her with his son. However, when referring to her son, Anna did not show a "threatened" panic and anger. "It's this? "It was the director who wanted to help Karenin to ask, this poor innocent man. As for Anna, some people actually said that this movie was Anna's black. I think it helped Anna a lot. In the original book, in the After the adultery was made public, she only wanted to continue to have fun with the adulterer; when she was forced to stay at home by her husband, she cursed, resented, and disgusted her husband, without the slightest apology, she was just a man. A lonely and cold Bichi without being fucked for a day. Not at all guilt-ridden like in the movie. Levin's line was cut down too much. Haha... Levin's tirade at mealtime was amazing. Column The word guessing game of Wen and Jidi is so good. It can't be expressed well in the movie, but it has been expressed well. The love between the two in the movie is still as touching as in the original book. Karenin is seeing Anna The indifferent tearing of the paper when he said the "I'm dying" note is a good indication of his indifference at the time. It felt great. Anna's dying confession was insufficient. Karenin was forgiving Anna What he said to Anna later was indeed his consideration in the original book. He considered her from Anna's point of view, but he could not get her approval and understanding. She just blindly classified Karenin's behavior as a Vicious, and their blind pursuit of pleasure and desire is justified. Movies cannot express their own psychological activities, so they use dialogues to reflect them. This psychological activity is very important. Reflection. Anna's thoughts (love, not son) are manifested in the movie when Anna left her son to have an affair in a foreign country. Anna's constant slanderous insults and accusations against Karenin in the original book are not in the movie. It's well represented. The film's portrayal of Levin as a perfectionist utopian is great. Koznyshev and Valenga were completely cut off. I'm a little bit dissatisfied. They're just perfect Gidi's acting is just perfect. From the moment I saw her, I thought, oh my god this is Gidi in the book, she's alive. The explanation for not letting Anna come to see her son is too thin. Mrs. Lydia It was to declare to Xie Liaocha that Anna was dead, and Karenin also helped to deceive. The Italian honeymoon was completely cut off. Alas. Regarding Anna's parent-child relationship, there is actually one thing that I think should be expressed. That is, Xie Liaocha and the The estrangement between Vronsky. It was mentioned in the book. I think that if Seryocha lived with Anna, he would not be happy. Karenin's decision was not wrong. Haha. Anna's move to the theater stupidity, which is not directly pointed out in the book, but is It is pointed out that Anna loves social activities, loves being watched and loved, but she repeatedly breaks social rules, putting herself in a dilemma with Karenin and Vronsky, and in turn blames the people around her. She thought she could endure the contemptuous eyes of everyone, but in the end she couldn't bear it and collapsed. Say it! The director directly asked Dolly to tell her how she wanted to be fucked by others →_→ Tsk tsk. Anna has never acted at a loss in front of outsiders, right? She has always been charming. Anna's expression during her meeting with Dolly was inappropriate. After the plot is compressed, the conflict between Anna and Fronsky is even more weak. To be honest, I don't think Tolstoy's analysis of what went wrong in their love at the end was full and deep enough. I don't quite understand what's going on with the "so it's the child" paragraph. Did Vronsky plan to leave Anna and marry someone else in the movie? Levin's thoughts on religion and politics are largely downplayed. But on the other hand, the importance of the Levin line is that it is difficult to represent. Karenin finally adopted Anna's daughter, and the portrayal of this character is generally in line with the spirit of the original book.
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