When the Russian critical realist writer Tolstoy created Anna Karenina in the mid-19th century, he probably would not have thought that there would be so many first-class actresses to challenge the image of this tragic woman, but the result was amazing, Jia Bao, Vivien Leigh, Sophie Marceau, and Kevin Knightley have all played this role. Anna has almost become the first love of well-known actresses who challenge acting, just like actor Hamlet who is willing to challenge Shakespeare.
——Why does it retake repeatedly?
The novel "Anna Karenina" has been so popular and has been adapted from time to time. Obviously, there is a deep-seated reason: from the perspective of capital pursuit of profit, there is a certain dark motive.
First of all, the topic of "Anna Karenina" is of outstanding significance. The content of "love triangle" and "extramarital affairs" is considered a "controversial" topic and the "core" of gossip in any era, and it will always be the focus of people after dinner. After all, people are not sages. In the boredom of the daily middle class, these flower-like embellishments can comfort their mediocre life.
But "Anna" is poisonous, and this brilliant poisoner is naturally Tolstoy. Although the novels about love are already full of sweat, Tolstoy's narrative is "mad about love". "The explanation is very good. Different from the pure love tragedy of "Romeo and Juliet", Anna Karenina is at the core of an embarrassment, lust triumphs over family responsibilities, and the tragedy under the consciousness of "disaster" brought about by love quietly sprouts. Think about the "Covered Bridge Last Dream". Almost the same type of story, one to go and one to stay, are all attributed to the magic of love. The same "temptation" plot is renovated by various tricks. It can be seen that this kind of story is very powerful. Something that appeals to the unconscious mind.
Secondly, from the perspective of an actor, Anna’s acting is sufficiently challenging and there is room for the actor to perform his acting skills. Anna has been trapped in the "emotional whirlpool", from being reasonable in the beginning, to love at first sight, to ballroom temptation, and to Enthusiasm like fire, confession and entanglement, to pain and lust, to elopement, to jealousy, to despair and trembling, to self-killing, almost deduced the subtle emotions of various women, there are changes, development and deepening, so various adaptations , Anna almost became a touchstone.
Frankly speaking, we are here for the new "Anna"; women of all types play the possible Anna in my heart; but who will be the best?
is actually the most "excellent". In addition to acting as an actor of Anna, the director's skill is indispensable. After all, this masterpiece has been adapted, in a sense, "filmed", and it contains a lot of implications. The value of "patching problem". After all, what's interesting is that the same key plot is handled by different individuals of different directors, but the sense of scale, awareness, and angle of shooting are different, resulting in completely different effects. Director
’s personal interpretation gave Anna a completely different brand new character when Anna came alive. This is one reason why he is willing to compare the different versions of Anna; the interpretation and emphasis on Anna’s novels are different, showing one thing This eternal "charm"-Anna's "charm".
Of course, comparing the whole film is a job that I can’t do right now, but you can cite an example, such as the scene where Anna commits suicide. Various film versions are handled differently; Anna under different directors has different characteristics.
——For example, in the Garbo version of Anna, with the black and white effect, Garbo’s elegant characteristics perfectly endow Anna with a pitiful character. Garbo’s iconic long eyelashes shake like a butterfly. When suicide, there is no fancy The camera just kept looking at Garbo's face, expressionless but seemed to have everything. The moment I jumped off, it was a simple jump.
—— For example, Vivien Leigh's version of Anna, the same black and white effect, but the director is not new, no longer jumping in from the side of the railroad, but let Vivien Leigh face the locomotive directly, muttering to himself, being knocked down by the moving train , Vivien Leigh's unique neuroticism from "A Streetcar Named Desire" has been interpreted as a new Anna.
-such as Sophie Marceau's version of Anna, colorful Anna, Sophie Marceau is of course a peerless beauty, that beautiful face is suffocating. When the director handled the suicide scene, he made full use of Marceau's elegant posture. When jumping down, a few "associative shots" were inserted, the candle was extinguished, and the little girl's diving, at that moment, the director gave a full poetic flavor.
-such as Kevin KnightLi's version of Anna, it can be said that she is a rare embodiment of "erotic" among several Annas, the train covered with thick snow, the intense personal emotions, the tears under the black veil, and she died after jumping down. The face is horrible.
In short, this is a short period of time, there is only one thing, but the director’s interpretation has been renovated, representing a kind of "attraction" of the film itself, which is different from the words, but in a sense, let our Anna imagine More "rich".
Actually, only a few famous Annas are listed above. Unfortunately, I didn’t see the Soviet version (it is reasonable to say that this version is probably close to the Russian style). In addition, the Italian "Anna Karenina" in 2013 is the longest , The love drama is in place, and the arch bridge design of the story as the overall structure of the movie fully understands Tolstoy's meaning, but unfortunately the actress can't name it. Generally speaking, the American factories of Garbo and Vivien Leigh's Anna made Hollywood taste a bit heavier, and the choice of adaptation is entirely from the perspective of the story, which is the advantage of the American film and its shortcomings. The 1997 version of Sophie Marceau always felt that it was too elegant, and the women's wild love was not expressed enough. The shooting was quite satisfactory, but it always felt that the taste was not good.
Of course, my favorite should be the 2012 Knightley version of "Anna Karenina". The stage design is completely full of unique and innovative praise; very adventurous and bold; similar to the overall "stage play" The design makes the whole transition process full of incredible connections, which made me stunned. It turns out that "Anna" can still be shot like this, completely out of the old-fashioned treatment of realism content, and retains the "essence" of the story. In fact, this movie is the most interesting "Movie author consciousness", after all, novels are novels and movies are movies. As far as I am concerned, this movie is not highly rated, which surprised me a bit.
Will there be a new "Anna" in the future, just like the famous line: "Happy families are similar, and unfortunate families have misfortunes"; Anna is unfortunate, leading to all kinds of possibilities, so she can be in the world There are various images of "incarnation of a thousand faces".
I think "Anna Karenina" will definitely have a new interpretation. The key is whether there are new possibilities and new consciousness in the future "interpretation", which makes me have the urge to wait and see. Tolstoy’s Anna is so popular, at least he himself was touched by "Anna". I hope that in future adaptations, as a yardstick to test the acting skills of actresses, the director will be moved and creatively play at the same time. The attribute belongs to the movie.
—— In this way, we will live up to the existence of poor Anna Karenina, which is the so-called living up to the Tathagata and living up to the Qing.
