Anna Karenina

Didn't expect to like Anna Karenina after viewing its terrible previews multiple times, but it's actually quite well done.

I usually shudder when classic novels of considerable length are reduced to a specific one-part generalized interpretative 'quintessential' crystallization, but, if I'm not mistaken, Tom Stoppard took this predicament into account when writing his screenplay, and, through sheer interdisciplinary brilliance, managed to pack more multilayered jaunty selective dramatic action into 30 seconds of his adaptation than you often see in a full 120-minute feature, perhaps pleasing devotees of the novel (which I haven't read but I did read War and Peace), while more importantly crafting a demanding entertaining brain teaser.

At least until the act of adultery is committed.

The film clearly demonstrates the oppressive nature of a patriarchal culture without hesitating to sanctify members of its elite while causing their betrayers to appear flippant yet justified.

In terms of love.

Lacking on the various stages is a prominent position for manifold markets from which working people can condition economic cultural amalgams (pulp fiction for instance) through which they can freely synthesize away.

It is perhaps symbolically suggested that the creation of a public sphere within which such operations perform an integral function would nurture a more level playing field for the matriarchically oriented, the optimal situation producing dynamics where both genders possess flexible agencies while reserving a place for the immutable non-authoritarian pink and blue.

Anna Karenina's first act is an accelerated literary cinematic conflagration whose intense inductive transformative flames generously invigorate deductive zodiacs.

Allusively aligned.

(Happy holidays!)