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...although the wistfulness is genuine enough in the title character's Act I showstopper, I'm Lost. Levine's writing partner, Peter Kellogg, also a beginner, deftly focuses the story on Anna's forced choice between romantic love for Vronsky and maternal love for her child by her husband Karenin. But Kellogg nearly wrecks the enterprise with lyrics so blandly generic that they convey hardly any specifics of character -- especially frustrating when the source, Tolstoy's novel, provides some of the most vivid characters in world literature...

Author: /time Magazine | Title: A Big Epic Writ Small | 9/7/1992 | See Source »

Eric Porter, who was Soames Forsyte in The Forsyte Saga, re-creates another cuckold as Karenin, Anna's husband...

Author: /time Magazine | Title: Television: Love in a Cold Climate | 2/6/1978 | See Source »

...unhappy families are different, as Tolstoy said, and perhaps Anna Karenina would never have thought of dressing up in baby-doll pajamas. Perhaps Karenin would not have been inspired to chase her around the table. But Marabel did, and Charlie was. Epiphany. Love was reborn. Charlie became romantic. Marabel stopped nagging. Charlie was happy. Marabel was happy. The children were happy...

Author: /time Magazine | Title: The Sexes: The New Housewife Blues | 3/14/1977 | See Source »

...sentimentally ennobling one of fiction's most vehemently average women. Irish-born Kieron Moore, Britain's newest cinematinee idol, is badly miscast as the debonair Vronsky; he appears to be an idol with feet of peat. The principals suffer further by comparison with Sir Ralph Richardson, whose Karenin fairly lumps out the screen with its three-dimensional reality...

Author: /time Magazine | Title: The New Pictures, May 3, 1948 | 5/3/1948 | See Source »

...this week is certainly not Tolstoy's "Anna Karenina." True, the essentials of the plot remain, and such changes as have been made are justified by the necessity of condensation. But the spirit of the original has been lost and the characters vitiated beyond recognition. Only Anna and Alexei Karenin retain a spark of life; the others are bloodless lay-figures. Least excusable is the mutilation of Konstantin Levin--in the book a sensitive, passionate, inarticulate, self-contradictory idealist, but reduced in the picture to a formal and awkward lover. Frederick March was no more successful with Vronsky, although...

Author: NO WRITER ATTRIBUTED | Title: The Moviegoer | 11/15/1935 | See Source »

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