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Garbo played Anna twice, first in a 1927 silent movie called Love opposite her real-life lover John Gilbert.(The billing, predictably, read "Garbo and Gilbert in Love.") Then, at Garbo's own instigation, she reprised the role in Clarence Brown's lavish 1935 Anna Karenina, this time with Fredric March as Vronsky. Some see it as an exemplary vehicle for Garbo, showing off (as one critic put it), "that tragic, lonely and glamorous blend, which is the Garbo personality."Others found it too stately and too bloodless.Her performance is far subtler than that of Garbo's tragic heroine.She excels at showing Anna's restlessness and anxiety but she is also strangely aloof.Speaking in that familiar Scottish burr, he brings a scowling intensity and a sense of danger to Vronsky that many of his predecessors in the role lacked, even if he does treat Anna in the same offhand way he would later behave toward Lois Maxwell's Moneypenny.Bernard Rose's 1997 version of the film starred Sophie Marceau as Anna and Sean Bean, fresh from playing Mellors the gamekeeper in Lady Chatterley, as Vronsky.She advises her sister-in-law Dolly (Kelly Macdonald) to stay loyal to her husband Oblonsky in spite of his philandering ways and gives Dolly's younger sister advice about how to behave at the ball. Knightley expertly depicts the transformation in Anna's character: how she at first flirts with the cavalry officer and is flattered by his attention but then how she soon becomes utterly in thrall to him.
The book was partly inspired by a real-life incident in which a spurned woman had thrown herself underneath a train. "Standing in a corner of the shed, he had observed every detail of the woman's body lying on the table, bloody and mutilated, with its skull crushed," Henri Troyat writes in his biography of Tolstoy. A dreadful lesson was brought home to him by that white, naked flesh, those dead breasts, those inert thighs that had felt and given pleasure.
Wright has taken a stylised approach to his material, setting the majority of the film in a theatre on the grounds that the Russian aristocrats "were living their lives as if they were on a stage".
He has talked about the film as portraying love in all its manifestations.
"She wanted to show me the hard, driving nature of Anna's obsession," Kieron Moore (who played Vronsky) later commented of Leigh.
It doesn't help that Ralph Richardson is in scene-stealing form as her cuckolded husband, cracking his fingers, peering through his pince-nez at Anna as she watches Vronsky in the horse race and becoming ever more pompous as his rage and jealousy grow.