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ANNA KARENINA, director Joe Wright shifts gears from action to classical literature by teaming with Oscar-winning screenwriter Tom Stoppard for this adaptation of Leo Tolstoy's beloved novel. Set in late 19th Century Russia, ANNA KARENINA follows the tale of a young debutante (Keira Knightly) who questions her happiness, and begins to see her life transform in ways she never thought possible. Jude Law, Matthew MacFadyen, and Olivia Williams co-star in a film scored by Academy Award-winning composer Dario Marianelli (ATONEMENT).
PRIDE AND PREJUDICE, This version of Jane Austen's fiercely beloved novel has the daunting task of living up not only to the classic book, but also to the excellent 1995 miniseries of the same name. Yet 2005's PRIDE AND PREJUDICE is up to the task, thanks to lively pacing, a witty script, an excellent cast, and clever direction from British newcomer Joe Wright. The surprisingly still-relevant story follows the five Bennet sisters as they deal with suitors and love, as their mother desperately schemes to marry them off advantageously. Sweet-tempered beauty Jane (Rosamund Pike) develops feelings for the equally amiable and extremely wealthy Mr. Bingley (Simon Woods), but forces conspire to keep them apart while Lizzie (Keira Knightley) finds herself first appalled by, but gradually drawn to, Bingley's aloof, intelligent, and socially awkward friend, Mr. Darcy (Matthew MacFayden). The movie, at just over two hours, is forced to cut and condense a number of the book's subplots, and at times it tries to heighten the drama of certain scenes. But, for the most part, it's as faithful to the spirit of the original as time and cinematic convention allow. The tremendous supporting cast includes Brenda Blethyn as Mrs. Bennet and Donald Sutherland as her wry, withdrawn husband; Jena Malone as teenage twit Lydia; Judi Dench, effortlessly haughty and imperious, as Lady Catherine de Bourg; and Tom Hollander, who steals every scene he's in as the ludicrously pompous and awkward Mr. Collins. The movie's script, adapted by Deborah Moggach, manages to be proto-feminist without becoming anachronistic and, like the novel, it is incisive about the class politics and gender inequalities of the day.
ATONEMENT On a sultry summer day in 1935, an upper-class British family prepares for a dinner party at their country estate. The participants include Briony Tallis, her older sister Cecilia, Robbie Turner, who carries a torch for Cecilia; and various visitors and family members. A series of misperceptions, fuelled by the summer heat and Briony's childish hurts and fevered imagination, lead to a dramatic false accusation that lands Robbie in jail. We meet all three characters five years later in the thick of World War II, as foot soldier Robbie prepares for the Dunkirk evacuation and the two estranged sisters train as nurses in London.
