Life is but a stage, and Anna a player upon it

Life is but a stage, and Anna a player upon it

In literature, Anna Karenina and Madame Bovary are known for their fallen status. Therefore, to be with the man she loves, Karenina is ready to lose all the privileges of aristocracy while Bovary abandons her lover in a bid to climb higher socially. These two characters as depicted by Leo Tolstoy and Gustave Flaubert are destroyed by what they pay.

Many actresses consider these roles among their greatest achievements and many film directors regard them as irresistible challenges. For example, over twelve adaptations of Karenina have been made including those starring Greta Garbo (1927 and 1935)and Vivien Leigh whereas almost as many versions have been produced based on Bovary notably played by Isabelle Huppert, Jennifer Jones and Pola Negri(Mia Wasikowska is set to play her next year).

I bring up this information because I want to know: what is it about them that makes each good actress eventually read these books and start fantasizing? Both women are mothers who choose their lovers over their children. They both become talk of the town within their respective communities. They also use opera houses as stages for conducting illicit affairs; however both suffer heavily for betraying their spouses through adultery. The only major difference between them being that one acts out of genuine love while the other does so due to selfishness plus avarice hence sympathy goes towards Karenina but not Bovary.

In his audaciously stylized new version of “Anna Karenina,” Joe Wright employs Keira Knightley once again as his protagonist for the third time; though this may seem distracting given how incredibly beautiful she appears here clad in elegant gowns beyond belief! Yet there’s actually practical reasoning behind such excessive glamour: nearly half of Wright’s movie takes place within an authentic theatre where not only does he utilise stage settings but even boxes themselves let alone stalls area (seats removed) thus actors can be observed from wings etcetera while stage machinery becomes visible during tricks with backdrops as horses race across on a steeplechase.

The world is a stage and we are mere players. Yes, especially in the case of Karenina who fails to see this truth. She makes choices that would not be acceptable in high society St Petersburg or Moscow, acts like nobody can see them there. It seems she doesn’t know where the audience is looking at her from and thinks they won’t notice if breaks some rules.

When we are introduced to her; she is a beautiful young wife married off by father into powerful government minister’s family which did not endear him much emotionally towards his bride though he has always been kind with their only child an eight year old son whom neglects no love on earth for- who waits all day long every day under care Marya Nikolaevna (Serafima Birman) while mama runs around town meeting friends such as Dolly Oblonsky (Michelle Dockery), countess wife elder brother Steve (Matthew Macfadyen).

All societies are present in public at the opera and grand balls (both staged by Wright in the theatre), and after Anna meets Vronsky at a ball, there is no turning back. For this film, Wright and his screenwriter, Tom Stoppard, make sure that they include a landowner named Levin (Domhnall Gleeson), who was Tolstoy’s third major character, and certainly his most endearing. Levin embodies Tolstoy’s views in the novel: he is for abolishing serfdom and freeing his own serfs and has an almost mystical relationship with the land and its cultivation.

He wants to marry Kitty (Alicia Vikander), who has fallen for Vronsky, but at the ball Vronsky only has eyes for Anna cue happiness for Kitty and Levin.

Anna’s husband isn’t stupid; he soon realizes what she is up to. He takes an unyielding stance. If they must continue (affairs are not unheard of within their circle) then she must be discrete and secretive. But Anna’s heart burns too hotly with love for Vronsky she cannot conceal it. And so begins her punishment of separation from her spouse as well as society’s darling son. Society is satisfied. She sinned; she was punished. Her punishment has not yet begun though; this will come later when she learns dearly that passion may be temporary but scandal lasts forever.

This is a luxurious film sumptuously staged and shot, maybe too much so for its own good sometimes; there are moments where you’re not quite certain whether you’re looking at characters in a story or players on a stage. Productions can occasionally overpower a tale but when it comes to “Anna Karenina” such things should be avoided as they could easily backfire against themselves given how great this work actually stands out .

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