Keira Knightley talks going dark in “Anna Karenina” and entering the light with Chris Pine in “Jack Ryan”
Photo: Focus Features
Knightley dons the hats, veils, and upholstery silks as Anna Karenina, a character once played by Greta Garbo and Vivien Leigh. Working with her "Atonement" and "Pride and Prejudice" director, Joe Wright, and Tom Stoppard's adaptation, Knightley drives a radical restaging of Leo Tolstoy's Russian lit classic. She plays an aristocratic wife and mother who betrays her chilly husband (Jude Law) with dashing Count Vronsky (Aaron Taylor-Johnson).
While the English star, 27, wears the costumes and jewels, they never wear her. The actress brings a warmth and intimacy that make this historical character relatable to lonely wives in any era who play with the fire of passion outside their marriages and burn with the consequences. She gives Anna a contemporary urgency, and following on her overlooked turn in "A Dangerous Method," she has become a top contender for the 2013 best-actress Oscar.
Last week, Knightley talked to Yahoo! Movies about ripping off her bodice as Anna, and looking forward to a few lighter projects in the future:
Thelma Adams: This movie strikes me as incredibly choreographed — is that true?
Keira Knightley: Joe [Wright] liked the idea that he was filming a ballet with words. The blocking for "Pride & Prejudice" and "Atonement" was also particularly specific. In "Anna Karenina," it's evident in the dance between me and Vronsky and the whole of the sequence with society and the fireworks. And the sex scene is also choreographed.
TA: The Swedish actress Alicia Vikander, who plays your rival for Count Vronsk, and has a racy bedroom scene in "A Royal Affair," told me that "when it comes to sex scenes, there are probably no scenes that are as rehearsed. There's no improvising in a sex scene." Do you agree, Keira?
KK: No and yes. It depends who you are working with.
TA: In David Cronenberg's "A Dangerous Method" last year, you had a startling S&M scene opposite Michael Fassbender. Was any of that improvised?
KK: Cronenberg very kindly, very specifically choreographed that scene. I had the safety net of choreography. Yet, as much as I say safety net, if you see two people pumping away on each other, it's not very sexy. Choreography allows sex scenes to be sexy.
[Related: Indie Roundup: 'The Other Son']
TA: Between your role as Sabina Spielrein in "A Dangerous Method" and Anna, you've played back-to-back portraits of passionate female sexuality — the first treated as hysteria, and the second, I would describe as a tragic destabilizing force.
KK: You could argue that; it certainly leads to tragedy. What I saw in Anna was the story of somebody who's been starved. She's 28, with a 10-year-old child, and she's never experienced a romance. Once she tastes lust and romance, she cannot equate love with anything else. She doesn't understand that love is a spectrum. Once that initial first burst of passion cools, she can't recognize that Vronsky's love continues, or that her husband loved her in his own way. She's someone whose want is insatiable. That's her tragedy. If, at 28, you've never experienced romance or orgasm, how would you know it wouldn't sustain itself in the way we do now?