Trains have a particular significance on this version of Leon Tolstoy's novel "Anna Karenina" which had already been made into a movie in 1935 starring Greta Garbo, who made an impression for her take on the tragic figure of a woman who committed the ultimate sin of adultery in a society which did not condone it in our heroine's case, but who tolerated indiscretions among the riches classes.
Julien Duvivier, the notable French director, took command of this English film, taking it away from the constrains he would probably find in America with the Hays Code in full operation by the time this film went into production. M. Duvivier collaborated on the final screenplay with another notable playwright, Jean Anouilh, and Guy Morgan who was instrumental for the English dialogue.
Anna, played brilliantly by Vivien Leigh, who was at a high point in her movie career, shines in the film. Her Anna is one of her best creations for the screen. Not only was she a ravishing beauty, but her take on the character shows her as a vulnerable woman at the mercy of the cruel husband who decided to take his revenge of her deceit by not letting her see her own son.
The best performance though, was Ralph Richardson's. His Alexis Karenin shows an ambitious man who was considered part of the elite and well positioned in Russia's higher echelons of government. He was part of the rich classes who finds himself made a cuckold by his beautiful wife. Alexei could not afford the ridicule the situation was causing him. As such, his decision to let Anna walk away with Vronsky, was the only avenue he could take to punish his wife.
Where M. Duvivier was not successful was with the role of Count Vronsky. As performed by Kieron Moore, a handsome actor, the romance between him and Anna loses some of the spark that was the hallmark of the 1935 version where the dashing Frederic March made an impression. Mr. Moore was not quite up the the task of being the man who made Anna renounce to everything to become his lover.
The emphasis in this version is Karenin, as the cheated husband, not on Vronsky, as presented on the first one. Thus, Ralph Richardson was able to show why he was one of the best actors of England of all times, as he clearly demonstrates here. The supporting cast is interesting with a lot of familiar theater actors showing their best in minor roles. Henry Alekan, the cinematographer works in dark tones that blend easily with the harsh Russian winter.
Julien Duvivier, the notable French director, took command of this English film, taking it away from the constrains he would probably find in America with the Hays Code in full operation by the time this film went into production. M. Duvivier collaborated on the final screenplay with another notable playwright, Jean Anouilh, and Guy Morgan who was instrumental for the English dialogue.
Anna, played brilliantly by Vivien Leigh, who was at a high point in her movie career, shines in the film. Her Anna is one of her best creations for the screen. Not only was she a ravishing beauty, but her take on the character shows her as a vulnerable woman at the mercy of the cruel husband who decided to take his revenge of her deceit by not letting her see her own son.
The best performance though, was Ralph Richardson's. His Alexis Karenin shows an ambitious man who was considered part of the elite and well positioned in Russia's higher echelons of government. He was part of the rich classes who finds himself made a cuckold by his beautiful wife. Alexei could not afford the ridicule the situation was causing him. As such, his decision to let Anna walk away with Vronsky, was the only avenue he could take to punish his wife.
Where M. Duvivier was not successful was with the role of Count Vronsky. As performed by Kieron Moore, a handsome actor, the romance between him and Anna loses some of the spark that was the hallmark of the 1935 version where the dashing Frederic March made an impression. Mr. Moore was not quite up the the task of being the man who made Anna renounce to everything to become his lover.
The emphasis in this version is Karenin, as the cheated husband, not on Vronsky, as presented on the first one. Thus, Ralph Richardson was able to show why he was one of the best actors of England of all times, as he clearly demonstrates here. The supporting cast is interesting with a lot of familiar theater actors showing their best in minor roles. Henry Alekan, the cinematographer works in dark tones that blend easily with the harsh Russian winter.