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By DP30 david@thehotbuttonl.com

DP/30: Anna Karenina, actor Keira Knightley

7 Responses to “DP/30: Anna Karenina, actor Keira Knightley”

  1. Lex says:

    LOOK AT HER. The world’s most perfect and CHARMING woman.

  2. NightTale says:

    I thought she was frighteningly good in Anna Karenina. It really takes a fearless actress to play such an unlikable/complex character. She deserves praise for playing such a role and I hope AMPAS gives her a second Oscar nomination.

  3. Not David Bordwell says:

    I would like to point out that she played an equally unlikable/complex character without fear in Cronenberg’s A DANGEROUS METHOD without all this effusive praise. She was already astonishing in that film, but now she gets the Oscar buzz? Perplexing.

  4. Actionman says:

    Sooooooo disgusted that AK hasn’t opened in my area. What are they doing with the release of this supposedly groundbreaking adaptation?

    She’s stunningly beautiful, and hugely talented, a rare combo. Have always been a massive fan. Domino POWER.

  5. Lex says:

    Anna Karenina is terrific, big Joe Wright fan, and Keira is one of my absolute favorites (and the only woman for whom I’d maybe take a pass on K-Stew), but quick stylistic question about AK:

    This is a minority opinion, but anyone else think its stylistic “audacity” is being maybe overstated? Reviews both pro- and con talk at length about its formalistic quirks, like the “staged” elements and going backstage, etc. Anyone else feel like those were kind of neither here nor there? Honestly, 95% of the movie seemed to play like a really good, invested, visceral period movie, and then every 25 minutes or so they’d break the fourth wall just a smidge, and you kinda go, “Okay, fine, going with it, whatever,” then it returns to the big epic movie that it is.

    Just everyone talking about how CRA-A-A-AZY Wright’s choice to do that is, but it’s hardly what I remember about the movie, and didn’t seem to add or detract in any real way. Honestly think a lot of casual viewers wouldn’t even notice it.

  6. Mike says:

    Lex, I haven’t seen AK, but I remember bits and pieces of Atonement in a similar way. I remember the weird score–which used the typewriter–and how I thought it was clever at first, but then overused. The same with the long uncut shot on the beach in Dunkirk. His flair for the dramatic feels too calculated sometimes, and adds little to the whole work.

  7. Actionman says:

    That shot at Dunkirk is a fucking marvel of filmmaking, and his one-take-fight with Bana in Hanna was supreme. Joe Wright feels like he came from the same school as Mendes.

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DP/30

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“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies