But it required a lot of preplanning in terms of the visual effects, second unit, main unit. The lighting of the whole thing was tremendously complex. So I was able to find those images to express those feelings. Still, several members of the below-the-line team grappled with the switch. When costume designer Jacqueline Durran first boarded the project, it was firmly rooted in a naturalistic setting.
Once Wright embarked on his new path, Durran found herself tossing out her sketches and returning to the drawing board. The course change slowed down Durran for a few weeks until she began to wrap her head around it. Production designer Sarah Greenwood and Wright, known for his obsessive storyboarding, helped translate how the omnipresent stage would now manifest. Likewise, composer Dario Marianelli remembers the preproduction period as being particularly intense.
It felt quite a daunting task, especially because I wanted those pieces to contain the main themes of the rest of the score. Unfortunately for Anna, she is not a strong performer. At the ball, she loses focus. Her performance is unrehearsed and she forgets her fellow performers are watching her. She dances a bit too long and she stares at Vronsky for a moment more than she should have.
And, as her actions continue to disregard the convention, society begins the slow but inevitable task of destroying one of their own. At times Anna visits Serozha Oskar McNamara , her young son, in his bedroom, maternally tucking him in and telling him how much she loves him. In this set-up, Anna is both mother and performer, and all eyes are on her playing this role.
In the beginning of the film, before meeting Vronsky, she performs the role of mother well enough, although there is the suggestion of what, in the future, will be viewed as her failure when she leaves her child behind as he begs her to stay with him; nevertheless, when she first takes the stage as mother she commands it.
By this point Anna is an openly shamed woman, and, viewing her as an adulterous, Karenin criticizes her performance as mother to Serozha for its negligence. Anna failed to meet the demands of her role as mother, and also as wife; her performance failed and she is, literally, jeered from the stage.
Conversely, there are a handful of scenes Wright films outside the theatre, most memorably a loving scene between Ann and Vronsky. Both costumed entirely in white, and set outside on a sunny afternoon in the grass, this scene disregards the stylized fantasy of the theatre and plays on realism, which suggests what viewers see between these two in this scene is genuine and not a performance.
Interestingly, even though the theatre is not in this scene, its absence calls attention to it. Also, adapted from an eight part Tolstoy epic, the film has a long runtime, which may try the patience of viewers, particularly those who already have misgivings about the unconventional approach.
Yet, therein lays the beauty. The film is as avant-garde as the title character Wright presents to viewers. This is not just a film about Anna Karenina, this film is Anna Karenina. You are commenting using your WordPress. You are commenting using your Google account. There may be no single moment in Anna Karenina that compares to that shot for virtuosity; rather, the whole film is a virtuoso act by the acclaimed Northern Irish cinematographer, whose recent credits include We Need to Talk About Kevin and Avengers Assemble.
McGarvey joined the film just before shooting began and had little time to get to grips with its unorthodox theatre setting and the fact that certain scenes were designed to change right before our eyes, without the camera cutting away, like a stage set being rearranged in the middle of a performance.
He won't settle for average. The best work I've done has been on Joe's films as a result. How Joe Wright's vision of Anna Karenina was brought to life. Daunting challenges had to be met to get the costumes, sets and camera angles right. Sarah Greenwood, production designer It may have been an ingenious creative and financial solution, but Joe Wright's big idea on Anna Karenina — to stage most of the film inside a Russian theatre — posed a herculean challenge for his long-time production designer.
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