STEVE INSKEEP, HOST:
Leo Tolstoy's epic Russian novel, "Anna Karenina," has captivated readers since the 1800s; and in more recent decades, has also captivated movie directors, who've adapted it over and over again. The latest is director Joe Wright.
RENEE MONTAGNE, HOST:
Joe Wright has tackled literary adaptations before - "Pride and Prejudice" and "Atonement." Both starred Keira Knightley, as does the new "Anna Karenina," the high-society beauty who's never known passion. And after first resisting the dashing Count Vronsky - played by Aaron Taylor-Johnson - Anna falls for him; betraying her stiff and pious husband, in a doomed loved affair.
(SOUNDBITE OF FILM, "ANNA KARENINA")
KEIRA KNIGHTLEY: (as Anna) If you have any thought for me, you will give me back my peace.
AARON TAYLOR-JOHNSON: (as Count Vronsky) I have no peace to give. There can be no peace for us, only misery - my greatest happiness.
MONTAGNE: Anna's great happiness and misery have always been at the center of the movies though in the novel, another character was central to Tolstoy. That was Levin, a wealthy landowner who craves a simple life, and pines for the young Russian princess Kitty. Though the novel is woven with scenes of feminism, family and farming, the theme Wright chose to embrace was love.
JOE WRIGHT: For me, the book is a meditation on love, and considers the potential for love to reveal to us our humanness. And so everyone in the story is loving, in a different way; is trying to learn how to love. Anna's love is fueled by a kind of immediate passion. And it's a very physical, carnal love. Levin's love - and this is why Levin is so important - balances that. And Levin's love is an aspiration toward something more spiritual.
There's a line, in the film, where Levin says that he believes love is given to us so that we may find the one person with whom to fulfill our humanness. And that was a very key line, for me. And although the film is called "Anna Karenina," for me, it's very much an ensemble piece.
MONTAGNE: In the movie, Joe Wright chose to have much of the action of that ensemble take place in a theater, on a stage. A society ball, a horse race, a field of flowers; arguments, intrigue, lovemaking happen onstage, backstage, and in the rafters.
Tell us about the way you have filmed the story. Why did you decide not to shoot on location?
WRIGHT: Well, originally, the screenplay - written by Tom Stoppard - was a fairly literal translation. It was set in various palaces around Russia. And so we were out on location scout, being shown around these incredible palaces; and then someone would say, well, we've shot seven "Anna Kareninas" here before. Or, looking at locations in the U.K., and people would say, well, we've made - you know - three Keira Knightley period movies here before. And so I began to feel like I was treading - sort of ground that I, or others, had trod before. And so I wanted to find a way of telling this story that was aesthetically, perhaps a little bit more modern; and a way of stylizing the piece that would allow me to be a bit more expressive with the characters' emotions and internal landscapes.
MONTAGNE: So - I mean, the theater, itself, is interesting because it is as if the characters are onstage, mostly, in their public life.
WRIGHT: Exactly. I mean, the idea - once I decided that I wanted to set it in one, single location, I had to think about what that location would be. And reading a book called "Natasha's Dance," by Orlando Figes, which is a cultural history of Russia, I discovered that Russian society of the 1870s was really - sort of experiencing a kind of identity crisis. They weren't quite sure where to place themselves; whether they were Eastern or Western. And they chose to appropriate a French mode of living. So they all spoke French; they wore the latest Paris fashions. The ballrooms that they frequented, even, were mirrored - completely - so that they could observe themselves. So they really lived their lives as if upon a stage.
So in terms of society, the theater felt like an appropriate metaphor. But also, in terms of Anna's story and what the book is about, for me - is about finding an authentic form of life, and the roles that we play; and the roles that are sometimes no longer appropriate.
MONTAGNE: In one scene that's set not on stage but actually, in the three-dimensional home of the - Karenin and his wife, Anna Karenina; he's played by Jude Law; she, of course, by Keira Knightley; he's berating her after a party, for being indiscreet.
(SOUNDBITE OF FILM, "ANNA KARENINA")
JUDE LAW: (as Karenin) You and Count Vronsky attracted attention tonight.
KNIGHTLEY: (as Anna) Well, you don't like it when I don't talk to people; and you don't like it when I do.
LAW: (as Karenin) I didn't notice anything, myself. But I saw, everyone else noticed. I consider jealousy to be insulting to you, and degrading to me. I have no right to inquire into your feelings - they concern only your conscience - but that's my duty to remind you that we are bound together by God. And this bond can only be broken by a crime against God.
KNIGHTLEY: (as Anna) I have nothing to say to you.
MONTAGNE: This scene suggests something - which is, Anna Karenina is both a sympathetic character and also someone who at times, seems willful and self-destructive.
WRIGHT: Mm, totally. Anna is not a kind of heroine. In fact, she's probably an anti-heroine. I think Tolstoy set out to write a character who he would hold up to be culpable and morally corrupt. But as he wrote the book, it's as if Anna kind of rose up off the page in front of him, and he began to fall in love with her. And so I think Tolstoy probably had quite an ambivalent relationship with Anna. And that, for me, is the enduring fascination of the novel; that she is a character who is at times, cruel, and yet at times, she is also - she's not a hypocrite, and she believes in something beautiful. And so Anna is both terrible and wonderful. And I think that's why I love her; that's why I relate to her. And that's why, I think, women over the decades have related to her, too. She's complicated, and she's very human.
MONTAGNE: Thank you very much for joining us.
WRIGHT: Thank you very much, indeed.
MONTAGNE: Joe Wright, who directed the new movie "Anna Karenina," out today.
INSKEEP: And was talking, of course, to our own Renée Montagne. It's MORNING EDITION, from NPR News. I'm Steve Inskeep.
LINDA WERTHEIMER, HOST:
And I'm Linda Wertheimer.
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