His appetites constantly led him astray from the quiet country road that the ascetic in him craved to follow as passionately as the rake in him craved for the city pleasures of the flesh. ‘Levin must be part of Anna’, one man told us, ‘and Anna must be part of Levin.’Ĭount Leo (in Russian Lev or Lyovi) Tolstoy (1823–1910) was a robust man with a restless soul, who all his life was torn between his sensual temperament and his supersensitive conscience. Two other things confirmed our thoughts: watching the films of the novel, all of which deal solely with Anna and none of which get beyond melodrama and cliché then visiting Russia itself and finding that Russians talk about Levin and Anna with equal familiarity and affection. Without Levin, Anna Karenina is a love story, extraordinary and dark, but essentially a love story. We searched for answers to this question and soon began to realise that the adaptation must involve both characters. ![]() Levin began to appeal, but what really started to occupy my mind was why Tolstoy had chosen to put these two stories together? What is the relationship between Anna and Levin? I was therefore surprised when I began talking to my director, to discover that she’d had virtually the opposite response and was very caught up in Levin’s story – his love for Kitty and his desire to find meaning in life. I found myself constantly turning the pages to see how long I would have to wait before Anna’s next appearance. ![]() The presence of the irascible Levin was an irritant. The first time I read Anna Karenina, I became totally absorbed in Anna’s story. ![]() Copyright and Performing Rights Information
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