Greetings again from the darkness. We are all familiar with the phrase “All the World’s a Stage”, and director Joe Wright and writer Tom Stoppard twist the phrase into “All the Stage is the World” in their re-imagining of Leo Tolstoy‘s literary classic. With a bold and ambitious vision, the story plays out mostly within the confines of a theatre … utilizing not just the stage, but the rafters, backstage and all nooks. This is pulled off in a most operatic manner with heavy production, remarkable sets and costumes, and the use of curtains and doors for a change of scene. Additionally, most of the actors move like dancers and, at times, the dialogue delivery borders on musicality.
Tolstoy’s story has been adapted for the screen in more than two dozen versions, including two from screen legend Greta Garbo (1927, 1935). Who better to take on the role of Anna than Keira Knightley, the ultimate period actress of our generation. It’s her third film with Joe Wright (Atonement, Pride and Prejudice) and by far, the least traditional in presentation. This version focuses on the affair between Anna and Vronsky (Aaron Taylor-Johnson from Kick-Ass), and her resolve in tossing aside her standing in Russian high-society … and even giving up her son.
We do gets bits and pieces of the other story lines: Oblonsky (Matthew Macfadyen) provides some comic relief from the start despite his extra-marital wanderings from his wife (Kelly Macdonald); the stoic determination of the bureaucrat Karenin (Jude Law) as he insists on maintaining the proper illusion; and the down-to-earth landowner Levin (Domhnall Gleeson, Brendan’s son) with his pursuit of perfect farming and the beautiful Kitty (Alicia Vikander). Some viewer disappointment creeps in when we realize that Levin’s story is minimized here for the torrid love affair of Anna and Vronsky. Levin’s story is allowed to sneak outside the theatre setting … presumably since he is the only character living in the real world.
Tolstoy’s powerful story is stymied to some degree by the lack of sympathy we feel for Anna … while we certainly understand her lack of connection to the cold Karenin, we never sense more than a physical attraction and unreasonable wish between she and Vronsky. The strength of the story stems from Anna’s knowing willingness to surrender her place in society for the sake of what should interprets as true love. When one of the society ladies states she could forgive Anna for breaking the law, but not for breaking the rules, we fully comprehend what a ridiculous state those in high society exist.
It’s difficult to imagine a wide acceptance of this unique presentation; however, the technical aspects of the film deserve much Oscar consideration – cinematography, set design, costumes, etc are all first rate. And Keira Knightley proves again that costume dramas are where she is at her best.
SEE THIS MOVIE IF: you thought all possible presentations of literary classics had been explored OR you need further proof that no actress today seems more natural in the unnatural costume dramas than Keira Knightley
SKIP THIS MOVIE IF: film interpretations of the elite literary classics leave you with an empty feeling
watch the trailer: