But if Wright doesn’t demonize Anna, nor does he glamorize her, as is so often the case with filmmakers and readers alike. When Tolstoy first started working on the novel, he envisioned Anna as a kind of empty tramp, but the more he wrote, the more sympathetic he became to her plight. Still, at no point does he absolve her of moral responsibility for her own decisions, as some readers are too apt to do. Anna is a tragic figure, not merely because she is an emotionally deprived woman in a loveless marriage surrounded by empty hypocrites. She is also a victim of her own her romantic illusions, of making, in Tolstoy’s words, “the eternal error people make in imagining that happiness is the realization of desires.” By giving herself over to the fantasy of complete liberation, Anna becomes a slave to her passions, a star in a tragic story partly of her own design. She is a stark illustration of Tolstoy’s belief that one of the central problems of modern social life isn’t just that we’re all playing roles on a stage, but that those roles often end up playing — and destroying — us.
Saturday, February 09, 2013
In defense of....
Here's an argument for how the director got Tolstoy right. (The Millions)