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When Anna and Vronsky first dance, the other couples freeze motionless in pose for a few seconds as the couple whom only haves eyes for each other pass; and when Vronsky lifts Anna off the ballroom floor, she in reaction, a visceral signifier of their nascent passion.
The dancers make strange sweeping motions with their hands that seem to be emblematic of some choreographed rite rather than actual ballroom dancing motions.
Aaron Taylor-Johnson is something of an acquired taste as Count Vronsky, the man with whom Anna conceives an all-consuming passion.
It is an opportunity for us to reflect on the language and ideas that represented each year.It may be that the character Levin, a man sincerely interested in “living rightly,” is a semi-autobiographical representation of Tolstoy himself.But, at the heart of the story is the ill-fated passion of a married woman — the film’s flawed eponymous heroine — for a dashing officer who is not her husband.For, in Leo Tolstoy’s sprawling, 864-page novel (originally published in installments in 1873-77), fierce, all-consuming passion truly does prove fatal to happiness.Or, perhaps it is as one of the novel’s translators observed, that one cannot build one’s happiness on another’s pain.