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Anna Karenina

Anna Karenina

Drama · Romance · 1997

In Imperial Russia, Anna, wife of the officer Karenin, goes to Moscow to visit her brother. On the way, she meets charming cavalry officer Vronsky, to whom she's immediately attracted. But in St. Petersburg’s high society, a relationship like this could destroy a woman’s reputation.

Movie details

Anna Karenina

“In a world of power and privilege, one woman dared to obey her heart.”

1997 Drama · Romance 1h 48m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

In Imperial Russia, Anna, wife of the officer Karenin, goes to Moscow to visit her brother. On the way, she meets charming cavalry officer Vronsky, to whom she's immediately attracted. But in St. Petersburg’s high society, a relationship like this could destroy a woman’s reputation.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Anna Karenina?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

Anna Karenina

Anna Karenina

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In Imperial Russia, Anna, wife of the officer Karenin, goes to Moscow to visit her brother. On the way, she meets charming cavalry officer Vronsky, to whom she's immediately attracted— but in St. Petersburg’s high society, a relationship like this could destroy a woman’s reputation.

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Names above the title

The people responsible.

Directed by

Bernard Rose

Written by

Bernard Rose

Sophie Marceau

Sophie Marceau

Anna Karenina

Sean Bean

Sean Bean

Vronsky

Alfred Molina

Alfred Molina

Levin

Mia Kirshner

Mia Kirshner

Kitty

James Fox

James Fox

Karenin

Fiona Shaw

Fiona Shaw

Lydia

Danny Huston

Danny Huston

Stiva

Court is in session

Put Anna Karenina on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.