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Joe Wright’s Karenina is a pretty player
ANNA KARENINA: Directed by Joe Wright. Screenplay by Tom Stoppard, based on the novel by Leo Tolstoy. Cinematography,
Seamus McGarvey. Editor, Melanie Oliver. Music, Dario Marianelli. Production designer, Sarah Greenwood. Starring Keira
Knightley, Jude Law, Aaron Taylor-Johnson, Matthew Macfadyen and Kelly Macdonald. Focus Features, 2012. R. 129 minutes.
00011
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THE COLLECTION (DIGITAL) R
1:05, 3:15, 5:25, 7:35, 9:45
END OF WATCH (DIGITAL) R
12:10, 2:45, 5:20, 7:55, 10:30
FLIGHT (DIGITAL) R
1:10, 4:15, 7:20, 10:25
KILLING THEM SOFTLY
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LIFE OF PI (DIGITAL) PG
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FINDING NEMO (2012)
(3D) G
11:55, 2:25, 4:55, 7:25, 9:55
ICE AGE: CONTINENTAL
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LOOPER R
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12:05, 4:35, 10:05
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Assistive Listening and Captioning System Avail
28
Adv. Tix on Sale LES MISERABLES
Adv. Tix on Sale LORD OF THE RINGS MARATHON -
EVENT PRICING
LORD OF THE RINGS MARATHON - EVENT
PRICING (PG-13) ★
Sat.1115 AM
PLAYING FOR KEEPS [CC,DV] (PG-13)
Fri. - Sat.(1200 230) 500 730 1000
ANNA KARENINA [CC] (R)
Fri. - Sat.(1220) 420 720 1020
KILLING THEM SOFTLY (R) Fri. - Sat.(1155 235) 510 745 1025
THE COLLECTION (R)
Fri. - Sat.(225 PM) 715 PM
RED DAWN [CC,DV] (PG-13) Fri. - Sat.(1210 240) 505 725 950
LIFE OF PI 3D [CC,DV] (PG) ★
Fri.(1145 1215) 410 710 940 1010
Sat.(1215) 410 710 1010
RISE OF THE GUARDIANS [CC,DV] (PG)
Fri. - Sat.(1245 PM) 415 PM 645 PM
LIFE OF PI [CC,DV] (PG)
Fri.(245 PM) 640 PM
RISE OF THE GUARDIANS 3D (PG) ★
Fri. - Sat.920 PM
TWILIGHT SAGA: BREAKING DAWN, PART 2
[CC,DV] (PG-13)
Fri. - Sat.(1240) 450 740 1030
SKYFALL [CC,DV] (PG-13)
Fri. - Sat.(1130 250) 630 945
LINCOLN [CC,DV] (PG-13)
Fri. - Sat.(1140 300) 650 1005
IMAX: SKYFALL [CC,DV] (PG-13) ★
Fri. - Sat.1205 350 700 1015
WRECK-IT RALPH [CC,DV] (PG) Fri. - Sat.(1225) 400 655 935
FLIGHT [CC,DV] (R)
Fri. - Sat.(1135 255) 635 945
ARGO [CC,DV] (R)
Fri. - Sat.(1230) 405 705 955
END OF WATCH [CC,DV] (R)
Fri. - Sat.(1150 AM) 440 PM 930 PM
Adv. Tix on Sale LES MISERABLES
Adv. Tix on Sale THE HOBBIT: AN UNEXPECTED JOURNEY
IN REALD 3D
RED DAWN (PG-13)
Fri. - Sat.(130) 430 730 950
RISE OF THE GUARDIANS (PG)
Fri. - Sat.420 PM 915 PM
LIFE OF PI 3D (PG) ★
Fri. - Sat.(100) 400 700 955
RISE OF THE GUARDIANS 3D (PG) ★
Fri. - Sat.(140 PM) 650 PM
TWILIGHT SAGA: BREAKING DAWN, PART 2 (PG-13)
Fri. - Sat.(120) 410 715 1000
LINCOLN (PG-13)
Fri. - Sat.(100 PM) 500 PM 830 PM
SKYFALL (PG-13)
Fri. - Sat.(145 PM) 530 PM 900 PM
WRECK-IT RALPH (PG)
Fri. - Sat.(110 345) 640 920
PLAYING FOR KEEPS (PG-13)
Fri. - Sat.(115) 415 715 935
KILLING THEM SOFTLY (R)
Fri. - Sat.(145) 430 700 945
SKYFALL (PG-13)
Fri. - Sat.(130 PM) 500 PM 830 PM
ARGO (R)
Fri. - Sat.(100 355) 640 925
Times For 12/07 - 12/08 © 2012
December 6, 2012 • eugeneweekly.com
T
he first half hour of Atonement director Joe Wright’s Anna Karenina is such a joy
to watch, I began to doubt my expectations of the story. This has a tragic ending,
doesn’t it? Terrible things are going to happen? For that matter, unfortunate
things are happening in the first act, but the clever way they’ve been pieced
together is a magical distraction, and appropriately so. Anna (Keira Knightley)’s
brother, Oblonsky (Matthew Macfadyen, hidden under one hell of a moustache)
has cheated on his wife, the pretty, sweet Dolly (Kelly Macdonald), and Dolly doesn’t
want to forgive him — so in swoops Anna, a cheery presence despite her loveless marriage
to Karenin (Jude Law). Anna tells Dolly that if she doesn’t choose to forgive, she will
make herself and Oblonsky miserable. Their happiness is in her hands; never mind that she
did nothing to deserve that choice.
This Karenina is not exactly subtle. Wright sets nearly all of the action inside a worn
theater; the stage is a bedroom, a racetrack, a ballroom. For the first act, this makes a
marvel: Actors walk through doors into other settings without regard to the time that must
have passed from one scene to the next; the theater’s seating area becomes a train station
or Oblonsky’s office, where rows of men stamp papers with mechanical precision as
Oblonsky walks through, changing coats as he goes, talking to idealistic Levin (Domhnall
Gleeson) all the while. All that movement and magic makes Karenina begin like a musical
without singing, carefully choreographed and bursting with energy that has nowhere to go.
But two things let down this enrapturing first act: The theater setting starts to fall aside,
to become less key, and cuts between scenes become more traditional, less dependent on
clever sets and ingenious, compelling transitions. The magic seeps out; you can still see
the footlights, but the sense of containment has been handed over to the late-19th century
society, and even someone who’s never read Karenina can see that this is far more
obvious, and far less interesting.
Also less interesting is poor Anna, and her poor, meant-to-be-ever-so-handsome
Vronksy (Aaron Taylor-Johnson), whose silly mop of blonde hair gives him a disconcerting
resemblance to a prettier Borat. Taylor-Johnson is rather miscast; his sultry expressions
provide little heat, and he lacks chemistry with Knightley, who’s wound so tightly that you
expect her to go off more dramatically than she eventually does. Their burning desire for
one another is far less convincing than society’s disdain for Anna’s choice. The quiet flame
that Levin holds for Kitty (Alicia Vikander), the young girl who grows into a kind woman,
is so much more effective that Levin becomes even more sympathetic than intended.
Partly, perhaps, Knightley isn’t quite up to the task at hand, but Tom Stoppard’s
adaptation fails her, fails to make Anna into a human and not just a symbol for society’s
tight constraints on women (Oblonsky’s affair is between him and his wife, but Anna’s is
the talk of the town). Anna Karenina drags in the middle and rushes to its ugly end — one
too heavily foreshadowed by the frost-covered trains that race into scenes — but the sets,
the choreography, the glorious costumes and the secondary characters (including a
brilliantly cool Olivia Williams as Countess Vronsky) are pieces of a superior film. ■