Film Review: Anna Karenina (12A) (U.K. 2012) (Director: Joe Wright), Sunday 09.09.2012, 18:15, The Cameo Cinema, Screen One, Edinburgh

The third of the films to come from Joe Wright and his leading lady of choice, Keira Knightly, after 'Pride & Prejudice' (2005) + 'Atonement' (2007), and the high quality level I feel to have been maintained. The book I have not yet read (do intend to), though understand it to be regarded as a sprawling classic, which has been able to be streamed into a lithe running time of 2H 10Min.

I see little point in saying anything of plot other than the film centres around a tale of tragic love, with a lady of high society choosing her lover over husband and child, and how the society she moves within, the rich and titled of Russia of the early 20th Century, treat her as a leper, ultimately leading to her tragic demise.

The film has many exemplary aspects. The sets and costumes are lavish and sumptuous, the editing is breathtaking as is the pacing in the early parts of the film, then moving to lurching as Anna's emotions become more despondent when ostracised. The conceit of it being, for the most part staged within a theatre, is used with great imagination and ingenuity. The film has a great sense of theatricality, without feeling to be theatrical. There was not a single performance I could mark out for criticism. Of particular note was Matthew Macfadyen as Anna's brother, who appear to embody the role with great relish.

There is also a sex scene where nothing of note was shown clearly on the screen, I had the sense that this was presented with very purposeful restraint. How refreshing. This was preceded by a kiss that felt to more sensual and explicit than the sex scene, and caused a quickening flutter. I had wondered whether this was a comment on the culture, society and time of the films setting (what must be kept from view, and therefore what activities are allowed to show heightening passion)? Regardless I found this a notably visually ravishing and striking passage in the film (not that other passages were not visually arresting), which I felt was purposely heightened by how it was portrayed.

After viewing, I was left thinking, 'was that flawless'? I think that the question was rooted in the matter that none of the central characters felt to be utterly redeemable. The characters, across the board where conveyed with sufficient complexity, that a sense was left that none of them were able to be seen as good or bad. This can make it harder to come away feeling giddy, though is ultimately more satisfying. I suspect the film would reward more than one viewing, as is so dense (you have to pay attention) that I think it would take more than one viewing to pick out aspects of the film.

Rating: 10/10.
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2012: Six Flawless Films To Date In Order Of Release:
Magic Trip (Documentary)
Once Upon A Time In Anatolia (Turkish) 
Goodbye First Love (French)
The Dark Knight Rises
Searching For Sugar Man (Documentary) 
Anna Karenina