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No such scene exists in this more realistic version. Vivien plays a woman who knows precisely what she was doing and yet she chose to flout the male dominated society of 19th Century Russia. Like Garbo she is married to a pill of a husband and when a dashing young cavalry officer shows his attentions to her, she falls madly in love.
I mean, can a black writer take on the social novel in a contemporary context without falling prey to boring racial ideas. Not to get all Thomas Chatterton-Williams about it, but it feels somehow that to write a social novel as a black person is to find oneself getting jerked around by your own bad ideas and fears, or worse, acting out somebody else’s ideas. One of the novel’s recurring themes is the juxtaposition of high and low societies. Of historic importance – as the coming century would bring the dawn of Communism for Russia – the ties between the two classes were never so relevant as in this time period.
White Collar
In the case of "Anna," after stripping away the polished veneer, I find characters trying to cope with their testy emotional choices while being thwarted by inhuman societal standards. Overall a beautiful film which is well worth viewing. Vivien Leigh was unfairly compared to Greta Garbo back when this came out, unfairly I think because there's only one Garbo. Vivien was a frail creature in life and that helped in a lot of her work.
He cannot demonstrate his feeling in a way that is legible to Anna. Meanwhile, Karenin is heartsick and lonely in his marriage. He can’t understand why she doesn’t see how much passion he has.
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Perhaps contemporary readers imagine that the central pulse of Tolstoy’s great novel is centered on the turnings of the domestic sphere. Oblonsky’s affair with the governess and Dolly’s subsequent progress toward forgiving him and reconstituting their family. Or Kitty falling back in love with Levin after Vronsky breaks her heart and drives her to the point of death. This outfit channels this great divide, by contrasting the two classes via “high society” fabrics, like velvet, fur, and lace, against “low society” worked materials, like wool, felt, and leather. The wool, military-style coat mirrors the military presence in Russia at the time, while also alluding to the peasantry.
The cover had a woman in a large white dress on it, looking demurely to the side. What I remember most about that first read is nothing to do with the novel at all. I remember that I underlined certain sentences in a red Bic pen. That’s what I remember, the red Bic I chewed on for all of one summer, the way the ends split open and turned blue then translucent as I chewed away the white paint. I remember how smoothly the ink went onto the yellow pages. I remember the flaking laminate of the cover, peeling it off bit by bit.
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The underskirt also features the same fringe, ending in a small train in the back. Diamantes add an extra touch of elegance to this gown. In the front, the ball gown ends in long rows of narrow, plaited ruffles.The striped material is draped across the front, then gathered upward toward the back, ending in a gloriously long train.
Any philosophical glosses are avoided like so many venomous snakes. What we're left with, in this instance, is a very well-done soap opera that takes place in and around St. Petersburg, Russia, in 1878. True, she had forsaken all for John Gilbert in "Christina," but that decision was the result of deep and thorough soul searching, and explained with the eloquence of Solomon to her courtiers. In "Camille" she is by profession a lover, and so her ultimate renunciation of Armand, reveals the true depth of her character. But one cannot conceive of her destroying the lives of others to satisfy a whimsical infatuation.
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As such, his decision to let Anna walk away with Vronsky, was the only avenue he could take to punish his wife. One of Vivien Leigh's most underrated films, Anna Karenina is a beautiful film with eloquence of despair and tragedy. The film might seem a little dated but I enjoyed the focus on Karenin.
Garbo enchants in many of her individual scenes, particularly with Freddy Bartholomew and Maureen O'Sullivan, . Who can forget her advising Kitty to seize her fleeting youth, with its promise of a dream prince to emerge from the blue haze of the mountain top. Equally impressive, is her muted aversion to Alexei Karenin, . First off, let us concede that neither the 1935 Greta Garbo "Anna Karenina" nor the 1948 Vivian Leigh version comes close to capturing the complexities of Tolstoy's masterpiece. Of course Ralph Richardson as the husband Karenin is just as big a pill as Basil Rathbone was back in 1935. A man quite full of himself in his high level job in the Czar's government, he only sees how Anna's betrayal is affecting him.
