Edinburgh Fringe 2013: Pre-festival Picks

Photo by byronv2 under Creative Commons licence

Doesn't time fly! It's nearly that time of year again — when actors, directors, singers, comedians, writers, dancers, ventriloquists, poets, acrobats and performers of all kinds make the trek to Scotland's capital to try their luck at the Edinburgh Festival Fringe. And the rest of us follow, whether we're a part of the action, reviewing their efforts, or simply enjoying it from a safe (we hope...) vantage point in the audience. As the world's biggest arts festival grows steadily each year, 2013 will see more shows than ever gracing Edinburgh's venues: at the last count, 2871 events encompassing over 24,000 performers.

With all those options offering thousands of different emotions, experiences and possibilities, how on earth do you separate the good, the bad and the ugly from your Fringe guide? I decided to come up with a Top 10 list of intriguing, promising or exciting things from this year's festival — except, of course, there's too much to choose from so even I had to resort to a Top 15 instead. Check 'em out:

1. I Need A Doctor: The Unauthorised Whosical Adventure — Stormy Teacup Theatre Ltd./Pleasance Courtyard/31 Jul – 26 Aug/£6-11
Being a massive fan of Doctor Who and of musicals, I couldn't really ignore this one. A parody of the beloved BBC One series with songs such as 'Companion's Lament' and 'Phonebox of Love', this is possibly the nerdiest show on the programme, but looks to be providing a healthy dose of silliness at the Pleasance Courtyard this year.

2. Titus Andronicus — Hiraeth Artistic Productions/theSpace@Surgeons Hall/2 – 24 Aug/£10-12
Shakespeare reinvented can go either of two ways, but this production may be on to an intelligent restaging. One of four productions of Titus Andronicus at the Fringe this year, this particular version reimagines the action of the Bard's goriest tragedy in the midst of 1980s Britain. It's a tough play to pull off, with all its over-the-top blood and guts — but in the violence of skinhead culture, the extreme emotions that lead to all this anger, vengeance and bloodshed start to make sense, and to really hit home.

3. Austentatious: An Improvised Jane Austen Novel — Milk Monitors/Laughing Horse @ The Counting House/1 – 25 Aug/Free Non-Ticketed
Anyone who read my blog during last year's Fringe may remember how I raved about this lot — and I'm so happy to say they're back! Some of the best improv you'll see in terms of quickness and hilarity, and all Austen-themed. Austentatious manages to mock the author's stereotypes whilst showing it holds much affection for her, and based on audience suggestions they construct a brand new Austen novel every day. Last year crowds were queuing down the street to see this, so arrive early! It's lovely, and pretty astounding, to see that the show is still part of the Free Fringe, as I'm sure the troupe could sell out a ticketed event with no problems. A hugely likeable comedy group who will have you in stitches.

4. Rachel Parris: The Commission — Laughing Horse @ The Counting House/1 – 25 Aug/Free Non-Ticketed
Following on from Austentatious, many of their members are involved in other shows at the festival, including the delightful Rachel Parris. Often taking the role of naive, pretty heroine in the Austen-themed tales, her solo performance is a chance to see a wider range of her comedic and musical skills, with topics such as Disney and The X Factor on the promised list of targets. It will be great to see this talented performer showing she's got a darker side and some real bite.

5. No Place Like — Le Mot Juste/Zoo/2 – 26 Aug/£4-9
A piece of physical, verbatim theatre inspired by real-life conversations, this work examines the lives of elderly care home residents: it's nice to see that the play promotes itself as "a celebration of life", rather than presenting these places as morbid or depressing, and there is the promise of comedy as well as poignancy in the variety of memories that emerge.

6. The Pin — Pleasance Courtyard/31 July – 26 Aug/£6-11
Again, this show is no new discovery for me as I saw these guys doing their thing — with much success, I might add — at university in Cambridge. Since then they've been busy making a name for themselves with a sell-out run at last year's Fringe. However, things have changed recently as the trio has become a duo: it'll be interesting to see how this changes their act, but with their usual combination of wit, silliness and deadpan delivery, booking early will surely still be necessary for these rising stars of the circuit.

7. Boys — No Prophet Theatre Company &  Close Up Theatre/C aquila/1 – 26 Aug/£6.50-10.50
Last year No Prophet Theatre (starring Will Merrick of Skins fame) took on Simon Stephens' gritty shocker of a play, Punk Rock. And damn, was it good. They're following up that edge-of-the-seat performance this year with dark comedy Boys, also focusing on a group of adolescents, this time on the edge of adulthood as they graduate from university. Its "drug-fuelled irresponsibility" recalls the glory days of Skins, but No Prophet's 2012 production certainly showed that this group were not going to rely on the TV fame of one of their number. If the ensemble deliver as much electricity as last year, this will be one not to miss.

8. Nirbhaya — Assembly, Riverside Studios & Poorna Jagannathan/Assembly Hall/1 – 26 Aug/£10-16
Yael Farber took Edinburgh by storm in 2012, with a sell-out run for her searingly passionate and volatile Mies Julie, a South African adaptation of Strindberg's 19th century classic that became the hot ticket of the festival. This summer she returns with a piece of new writing, which is set to be even more blisteringly gut-wrenching. Nirbhaya is inspired by the gang rape and murder of Jyoti Singh Pandey in Delhi in 2012, which opened the floodgates for revelations about the brutal treatment of women in India; Nirbhaya (one of the pseudonyms used in the press for the victim, meaning 'fearless one') attempts to break through the silence that surrounded the issue. Mies Julie was the most powerful piece of theatre I have ever seen, and if Farber brings the same extraordinary rawness and explosiveness to these real-life events, it is sure to rock the Fringe this summer.

9. Dick Whittington — University of Bristol Pantomime Society/theSpace on North Bridge/2 – 17 Aug Aug/£4-7
Ok, ok — I'm a bit biased. There's a small chance one of my loveliest best friends is starring in this. Nevertheless it's also a great option if you want a bit of good old-fashioned fun and silliness with a healthy dose of grown-up wit and humour. These students from Bristol are experts at serving up everything you'd expect from a panto, but with added extras and without too much of the cheese on top. With romance, songs and a dastardly villain, this is sure to put a smile on your face — plus it's great value for money!

10. Voices Made Night — The Magnet Theatre Company & Baxter Theatre Centre/Assembly Hall/1 – 26 Aug/£10-15
It seems that South African theatre is showing us all how it's done. Here the nation's top physical theatre company arrive in Edinburgh with their adaptations of the short stories of Mozambican author, Mia Couto. Described previously as "the cutting edge of South African art and culture", this company seek to relate his tales of love, loss, transformation, damage and forgiveness through the use of physical theatre and ever-changing characterisation and movement. Expect theatre that is passionate, moving and altogether beautiful.

11. Our Glass House — Common Wealth/Summerhall/13 – 25 Aug/Free Ticketed
Promenade and site-specific theatre are always to be found scattered across a fringe festival, and can work either fantastically or terribly. A promenade piece always feels like a risky choice, as the directorial decisions are so different to those of a conventional narrative work. Yet if the effect is truly immersive, it can be incredibly powerful. One such production, which certainly has the potential to be uncomfortable in either a good or bad way, is Our Glass House, a new work exploring domestic abuse. Staging this in a residential house should bring home (literally) the reality of this issue, as it is seen in its true setting rather than within the artifice of a theatre. Using fantasy, songs and choreography, there are a lot of elements in this — it has the potential to be too fragmented to deliver real energy or power, but if it is judged right it could be a truly eye-opening and compelling work.

12. Alice in Wonderland — Oxford University Dramatic Society/C nova/31 Jul – 26 Aug/£4.50-10.50
Having taken on the tricky tale of a murderess, Machinal, at last year's Fringe, OUDS are back with the rather lighter offering of Alice in Wonderland. Bringing out the vibrant insanity and twisty darkness of Lewis Carroll's classic children's novel, this adaptation throws you right into the world of the Mad Hatter and all his weird and wonderful companions — jump down the rabbit hole if you dare!

13. Nish Kumar is a Comedian — Nish Kumar/Underbelly, Bristo Square/31 Jul – 25 Aug/£6-11
After catching him guest-performing at the Footlights Free Show last year (one to look out for, by the way), I was impressed by Nish Kumar's set. Charming, witty, fresh and sharp, he delivers easy gags that nonetheless have a bite to them: certainly a name to keep an eye on, his one-hour show at Underbelly will be a tenner well spent!

14. Desperately Seeking the Exit — Peter Michael Marino/Laughing Horse @ The Counting House/1 – 25 Aug/Free Non-Ticketed
When you've invested a whole heap of time and money into a new West End musical and it closes within a month, you might lock yourself in your house and weep for a year, hiding from the embarrassment and despondency that might accompany such a flop — certainly, you might hide from the critics who gave it a panning. Peter Michael Marino has done no such thing: when Desperately Seeking Susan (the plot of the Madonna film of the same name, with the hits of Blondie crammed unceremoniously into it) turned out to be a bit of an epic fail back in 2007, Marino turned the situation to his advantage. Taking his new show's title from a damning review by Charles Spencer, Desperately Seeking the Exit tells the tale of how his musical flopped so badly, turning a theatrical car crash into an original, brutally honest, camp yet sensitive comedy. A phoenix of a show — from the ashes comes a new triumph.

15. Jonny and the Baptists: Bigger Than Judas — Pleasance Dome/31 July – 26 Aug/£6-10
Some musical comedy to round up my picks of the programme. Last year while editing Ed Fringe Review, my co-editor and I discovered this band and listened to their hilarious album on repeat in times of stress. With catchy tunes, sharp satire and a dash of absolute nonsense, Jonny and the Baptists make you laugh even more each time you hear their songs, as you pick up subtleties and asides that may have slipped by you the first time. More than one visit is a must!

FILM REVIEW: The Great Gatsby

directed by Baz Luhrmann

starring Leonardo DiCaprio, Carey Mulligan, Tobey Maguire, Joel Edgerton and Isla Fisher

11 June 2013 (seen in 2D)

Official Trailer courtesy of Warner Bros.

For many, Jack Clayton's 1974 adaptation of The Great Gatbsy, starring Robert Redford and Mia Farrow, will always be the definitive movie version. So with Baz Lurhmann taking on the classic story of the failed American Dream, there was always bound to be some controversy: after all, Luhrmann isn't exactly renowned for this traditional tale-telling, as we all know from his Romeo + Juliet and Moulin Rouge. To enjoy this particular adaptation, then, it sadly is necessary to forget the book — and undoubtedly to forget the Clayton film — as once again the flamboyant director brings his own brand of spectacle and sparkle to the Gatsby story.

With plenty of soft focus shots, anachronistic but catchy music and pure over-indulgence, The Great Gatsby certainly is a treat for the senses. The party scenes that grabbed our attention in the trailer are reeled off in full force, crammed with wildness and temptations that really do make you wish you were there. The soundtrack divides opinion (my companion at the cinema seemed most unimpressed with the idea of Jay-Z turning up in the 1920s...), but the presence of rap and hip-hop alongside jazz elements in fact captures some of the spirit of this age, yet reflects it through a modern lens. Rap and hip hop can be seen as the music of rebellion: styles which teenagers adore and parents detest, which divide generations — not all that different from the raucous jazz so beloved by the flappers of the Roaring Twenties.

Many criticisms have been levelled at the film since its first screening, but surely there can be no doubting the lead performances. Tobey Maguire (Nick Carraway) does 'tortured soul' very well in the new framing narrative, and manages to epitomise the optimism of the American Dream without becoming sickly-sweet or clichéd. Carey Mulligan's (Daisy Buchanan) early charm gives way to a cold stillness very effectively by the film's climax; Mulligan lures the audience into sympathy for Daisy, around whom all the film's most potent emotions revolve, before shocking them with her distant aloofness in her final scenes. It is  a reminder of the shallowness of people which this film seems to reveal. Elsewhere, scene-stealers Isla Fisher (Myrtle Wilson) and Jason Clarke (George Wilson) give fantastic comic and tragic performances, but feel sadly underused: considering how much the film drags at certain points, it would have benefited from a bit more screen time from this pair of electrifying actors.

In the end, though, the film belongs to Leonardo DiCaprio. Looking staggeringly young and unarguably handsome, he explores all sides of Gatsby's enigmatic character with sensitivity and intelligence, maintaining that vital air of mystery throughout while allowing us an insight to the pains and joys of his life. While Luhrmann at times goes beyond over-the-top — the number of shots of DiCaprio's smiling face bathed in soft sunlight, backed by a glittering soirée of excess, or framed by fireworks is frankly outrageous — DiCaprio somehow pulls it all off and carries the film with an impressive performance. He really is a "great" Gatsby.

Yet for all its visual pleasure (DiCaprio included, I must confess...), the gorgeousness of the New York and Long Island scenery becomes a drawback to the film itself. There are so many CGI backdrops and swooping, brightly-lit and highly-coloured shots of the city, that the whole thing seems totally unreal. This is perfect for the fantasy and escapism of the hedonistic parties, notably the drunken haze of Myrtle Wilson's apartment romp, but it undermines the tragedy of the piece. It is beautiful, yes, but the dream-like appearance of the film means there is nothing real or grounded about it which could make the tragedy feel genuine, and therefore truly moving. Presumably this is the intention behind the starkly contrasting framing narrative, but the device doesn't have enough impact to make a difference.

It is no doubt this dreamy sheen that has caused the complaints of a lack of depth in the film. This by itself is rather problematic, but could be over-looked if the plot has been structured with enough strength and power. Yet there are sections which are dragged out beyond their potential, and the whole thing feels too long, diminishing the suspense even as it is created. As events build to the climactic moment of the car crash, the overpowering heat and tension of the New York summer are evoked beautifully; yet the scenes are too drawn out, and this pressure is wasted.

This is an enjoyable adaptation, despite the criticisms of die-hard Gatsby fans: it is certainly more satisfying to view it as a stand-alone movie rather than a representation of Fitzgerald's novel. Yet the over-indulgence of the parties is continued into some self-indulgent directorial decisions, and the film's length and unreal, almost unnatural qualities undermine the powerful performances on display. It looks beautiful and is an entertaining watch, but in being so Luhrmann's The Great Gatsby sacrifices something to really get your teeth into.

THEATRE REVIEW: The Curious Incident of the Dog in the Night Time

Apollo Theatre

19 April

Booking until Autumn 2014

Any director who puts a real-life, totally adorable little puppy into their production is very canny. The squeals and "awwws" reverberating around the audience were a sign of a very happy audience indeed. Yet this adaptation of Mark Haddon's award-winning novel doesn't need to rely on gimmicks or fluffy animals; this is a stellar production packed with terrific – and totally believable – performances, genius stagecraft and affectionate warmth.

Coverage of the show has focused a great deal on the lead performance of Luke Treadaway as fifteen-year-old Christopher. In this instance, the hype is most definitely justified. Treadaway – who, at the age of twenty-eight, becomes a surprisingly credible teenager – has perfected his role, which he delivers with intelligence and sensitivity that never seeks to romanticise or trivialise his character's situation. He doesn't hold back on the details in portraying the symptoms of Asperger's Syndrome. The scene in which Ed (Christopher's father) must remove his son's vomit-covered clothes is touching in its care and delicacy, and well-judged in length: by not rushing through it, the painstaking processes which this level of care can involve were poignantly played out. Similarly, the detail with which Treadaway imbues the role is excellent, with habits such as scratching his head or playing with his hoodie ties, using small actions to create a rounded and believable depiction. Treadaway may be playing a young character, but he takes a mature approach to the role, exploring its depths and also its humour – the dialogue is often laugh-out-loud funny and Treadaway's puzzled seriousness is entertaining, whilst always ensuring that nobody was laughing at Asperger's. The performance treads that careful line of humour and respect, of comedy and sensitivity. There is truth and warmth in it, and it never threatens to be disrespectful. The Olivier award for best actor could not have found a more deserving recipient.

Luke Treadaway - credit: Festival Du Film Britannique de Dinard 2011

Yet as praise is heaped upon Luke Treadaway, it's important to remember this is not a one-man show. Many of the cast take on a range of small parts, proving adept at shifting from role to role, accent to accent. Niamh Cusack drives the show forward as she reads Christopher's account of the story and oversees the putting on of his 'play' – the play, of course, which we are currently watching. This allows for some comic moments where characters, and most of all pedantic 'director' Christopher, apparently step out of their role in the retelling, yet remain in character as far as the audience is concerned. Although Cusack's is the least flashy role, hers is a performance to reflect on. She is probably the only person in the play who really 'gets' Christopher, yet this is never explicitly discussed: it doesn't have to be, as we gradually realise the importance of her quiet but vital support.

In turn, this highlights the troubled journey of parents Ed and Judy who, despite their deep love, sometimes struggle to understand – and to cope with – their son's emotions and decisions. Most impressive is the bravery of author Mark Haddon and playwright Simon Stephens who do not shy away from the real difficulties of bringing up a child with Asperger's. Although things are certainly looking up by the curtain call, there is no perfect 'happy ever after' ending, and this refusal to gloss over the hardships is rewarded with brilliant performances from Seán Gleeson and Holly Aird – particularly the latter, whose portrayal of a mother who could not cope with what life threw at her is bravely honest and at times heart-wrenching.

The performances in this production would on their own create an inspiring, moving and truly fantastic play. But it is the staging that adds that touch of magic. Everything is actually pretty simple, but the way it works is absolute genius. From Christopher's dreams of being an astronaut, to the creation of a hectic Paddington station with a relatively small cast, to the set-up of an extensive train set across the stage, Christopher's world is evoked through his eyes with impressive skill and imagination. A broad smile spread across my face at the appearance of an 'escalator' on the back wall of the stage, as the creative team exceeded my expectations once again by a country mile. Everything worked in harmony faultlessly: a rare achievement.

It's hard to praise this show enough: every element comes together to produce a truly wonderful evening of theatre, and proves once again what a gem the National Theatre is in the crown of London theatre. If this is anything to go by, it is a real shame that Marianne Elliott has ruled herself out of the running of artistic director, because her creation here is a true triumph. The atmosphere of delight as Luke Treadaway delivered the epilogue and confetti fluttered to the floor of the Apollo was something special.

FILM REVIEW: Life of Pi

Directed by Ang Lee

It was said by many that this unusual novel could not be adapted cinematically - so if it was going to be done, it had to be done in style. Luckily, Ang Lee came along and did just that, creating a film that is rich, beautiful and exhilirating to watch. It's ironic that a film demonstrating the awe-inspiring majesty and horror of the natural world could only be achieved through the very different magic of CGI, yet in this case computer wizardry has done our planet proud, and great forces of nature are displayed in sublime colour and impressive 3D.

As a rule, this reviewer is left significantly disappointed by the supposed excitement of 3D technology; usually only adding the smallest of novelty factors to the film, it has in the past appeared an unnecessary and expensive addition. Yet The Life of Pi has certainly changed all that, as for the first time I saw its potential not only to enhance a film, but generate a whole new dimension (literally) of enjoyment. The chaos of the ocean storm is exhilarating and genuinely rather frightening, as the crashing waves and enormous volume of water feels tangible and dangerous. Similarly, Richard Parker is sublime (that's the tiger of course, before I get accused of lusting over some poor man...) and totally, frighteningly believable. The best thing about this CGI production is the realism that somehow pervades the film, even as the most extraordinary of events unfold, largely down to the extraordinary attention to detail shown by the animators.

Of course, it's not all about computer animation. Untrained newcomer Suraj Sharma deserves huge credit for carrying the large majority of the film's action independently, delivering a performance of sensitivity and maturity, but not missing the wry humour which gives them - and indeed the novel - its warm heart despite great loss and desperate circumstances.

Photo: GBPUBLIC_PR

Charm is also offered in the 'present day' scenes, as the older Pi (Irrfan Khan) and his visitor (Rafe Spall) provide the framing narrative, enhancing the illusion of reality. Spall once again demonstrates his incredible variety of skills as an actor, never typecast or repetitive from role to role. He is a solid support for the storytelling of Khan, whose mature and reflective Pi adeptly links the two parts of the film and delicately portrays the effect of this miraculous adventure.

This film could easily have become too long, or too flashy. Yet Lee has balanced it skilfully, creating what could more accurately be described as a work of art, as cinematography rather than acting steals the show. As the ocean around Pi glows with mysterious life forms, the scene feels weird and fantastical, yet the cruelty and harshness of life in the wild is never far away. This may not be a film to watch again and again - its strength is in its initial impact of beauty, majesty and at times oddity - but it is an undeniably impressive piece of cinema which successfully manages to blend the latest technology with a respectful awe for largely unseen phenomena of our world.

THEATRE REVIEW: Three Sisters

Young Vic

29 Oct 2012

Three Sisters trailer; courtesy of The Young Vic/Dusthouse

This is Chekhov as you have never seen it before. Raucous, dirty, vodka-fuelled, surprising, coarse, funny, uninhibited, destructive - and magnificent. Benedict Andrews' modern adaptation of the script tears down our expectations whilst breathing new life into a classic tale of love, sisterhood, despair and hope.

Under Johannes Schutz's design, the simple grey stage of the Young Vic is coldly lit and bare, a large mound of earth the only scenery. As characters make their entrances, the full space is utilised, with unusually large areas of empty stage between them: it is fragmented, jarring almost, to see a cast working together fluidly when physically so separate. The titular three sisters are introduced to us, and from her first appearance it is clear who will steal the show: Vanessa Kirby is simply superb as Masha. Her movement around the stage is so instinctive, so fluid, that not the slightest pretence is needed - she is not playing Masha, but has become her, utterly embodying the part in every toss of her head and every drawl. It is her spirit that seems to guide the production, with its irresistible mix of glamour, thrill, heartache and wretchedness. Beside this, Olga (Mariah Gale) risks appearing a little dull and anonymous, but some skilful and balanced direction by Andrews ensures her more understated performance is not overwhelmed. Completing the trio is Gala Gordon as unintentional heart-breaker Irina, whose transformation from sweet youth to hardened bitterness and despair is truly touching and at times difficult to watch in its soul-baring pain.

Although the girls are given some simple period dresses, there is nothing much conventional about this production. As the vodka flows, the expletives rack up and before you know it the cast are dancing on the tables and belting out Smells Like Teen Spirit. It's a brave move by Andrews and it works perfectly. Chekhov and grunge - who would've thought such a bizarre marriage could be so fruitful? The scene is funny, no doubt - and indeed there is much humour across the board here, from the brash, Aussie Natasha (Emily Barclay) to the inebriated Chebutykin (the splendid Michael Feast); from the brow-beaten Andrey (a tracksuit-wearing Danny Kirrane) to the loveable, sensitive Tuzenbach (Sam Troughton). Yet it is also thrilling in its raucous energy and verve, and in its contrast to the beautiful moments of stillness elsewhere in the play in which laughter and pathos are woven together in excruciating rawness. It is also demonstrative of the importance of sound as well as visuals, as peace is repeatedly and jarringly interrupted by singing, shouting, or by the uncomfortably loud bell which cuts through the calm, jangling painfully, in the second half.

There is a wonderful sense of synergy to the piece, as one or two individual performances which alone may be quite ordinary - William Houston's rather smug Vishinin, for example - bounce off others around them and become a seemingly vital element in the ensemble. Fragmentation is certainly a powerful theme as the sisters are gradually abandoned by all, and the slow, deliberate removal of the stage itself, piece-by-piece, is a stroke of brilliance; yet the force of togetherness inherent in the final tableau of Masha, Olga and Irina embodies the powerful bonds of raw humanity in this piece.

This bolshy yet nuanced production packs a real punch, with rare intensity and focus in its wildness. It is a tribute to the show's ability to hold an audience that I could have happily sat through it all without an interval, even on some of the most uncomfortable theatre seats in London. Its breathless energy, delightfully messy stage and wonderful performances, led by Vanessa Kirby, will not be forgotten any time soon - in short, a triumph.

FILM REVIEW: Anna Karenina

Anna Karenina Official Trailer courtesy of Focus Features

With the genius of Tom Stoppard on the credits and the inspiration of Tolstoy, Anna Karenina promises big things. Its sumptuous costumes, original concept and big name leading lady all aim to create something with impact, and something to shout about, although the last time Joe Wright took on a literary classic starring Keira Knightley (Pride and Prejudice, 2005), the result was bitterly disappointing. I left this venture impressed by certain aspects but, I have to admit, generally unmoved: I'd be more likely to mention the film over coffee than shout its praises from the rooftops.

The film looks gorgeous, the screen practically dripping with silk, fur, pearls and lace: visual texture is almost palpable in its richness. And yes, Keira Knightley in the title role also looks gorgeous. The close-up shots certainly do her no harm as the camera lingers on her flawless skin and dark eyes. Yet the problem - once again - with Knightley is that her external suitability for the part, and more unfortunately her acting talents, possess very little depth. She has the right expression for the right moment - the girlish smile, the pained, furrowed brow of distress, the poignant stare into the distance - but there is no feeling in her eyes, no soul in her performance. The portrayal of her growing attraction and love for Vronsky verges on the ridiculous, as her succession of breathy gasps on observing his stares appears to lead directly and very suddenly to a state of utter and blissful adoration. Sadly, her lover suffers from the same limitations. Vronsky has always seemed to me a shallow and unlikeable character, but Aaron Taylor-Johnson went further in depriving him of any real, believable passion. This is partly due to the rushed courtship which the film presents, and partly due to a flatness which haunts his and Knightley's performance. Jude Law, on the other hand, as the unfortunate Karenin, does repressed emotion beautifully; in a role which may well change perceptions of him as an actor - he has moved away from parts which emphasise his charming good looks - he is understated without being dull, and perfectly encapsulates the ambiguity of sympathy and frustration which Karenin attracts. Comedy came in the form of the ever delightful Ruth Wilson (Princess Betsy) and an unusually pompous Matthew Macfadyen (Oblonsky), although a little more attention could have been brought to the always-present tensions between his affability and his repeated adulterous affairs. Wright saves the character from become irritatingly blasé with a simple yet intelligent shot of Macfadyen following the film's tragic climax, bringing a rare moment of reflection and emotional depth in what is a busy and rather superficial film.

The concept is, admittedly, genius. The setting of a vast Russian novel in the confines (mostly...) of a nineteenth century theatre may seem bizarre and downright impossible, but what Wright admitted was a lightbulb, 'Eureka!' moment shows itself to be a real brainwave. The swiftly changing scenes and costumes, and the contrast between on- and off-stage action, epitomise the facades of 'polite' Russian society, while the musicality and dance-like movement of the opening scenes - in particular, a cleverly directed scene in Oblsonky's workplace and a beautifully whirling dance - depict a rhythmic rollercoaster of a social scene. The transitions between Serhoza's toy trains and the station scenes were again well-crafted, weaving intricately between the world of fantasy and pretend, and of reality. It may not be as madcap as the theatrically-set Moulin Rouge. but you could be forgiven for thinking Wright had been taking lessons from Baz Luhrmann. The symbolic use of colour is effective in the Odette/Odile-esque styling of Kitty and Anna at the ball, although goes too far when Anna and Vronsky, dressed in white, lie and frolic on a white blanket, bathed in white light. Fallen angels? Innocent love made perverse through its adulterous nature? Childlike naivety? It was all a bit too blatant and in-your-face to make any of these ideas seem interesting. Yet all this intricacy and beauty is a sheen over something that, on closer inspection, is rather shallow and lacking.

Although the Russian atmosphere was evoked by jaunty, Troika-esque music and some luscious fur coat and hats, it was lacking in a real evocation of Tolstoy's intensity and profundity. The film hurdles towards it's tragic denouement, but still manages to lack the real air of ominous, impending doom. Anna's eventual death is moving but sudden: the burden of her situation does not seen great enough to warrant suicide, which renders her behaviour bizarre rather than lending the character pathos. As a sidenote, I was glad to see Wright and Stoppard retained the earlier death of a railway worker as a mirroring device, although admittedly the differences between the two unintentionally amused me: while the unfortunate worker met a gruesome, bloody end on the track, Knightley was spared any mutiliation, dying under a train with just a small splash of blood across her waxen features. What rescues the film from an overload of the purely decorative is Levin (Domhnall Gleeson) and Kitty (Alicia Vikander). The best example of that elusive 'true love' in the novel and, some have argued, in literature, Vikander and, in particular, Gleeson do a masterful job at evoking the simple yet beautiful nature of their relationship. It is not sweet and sickly, nor is it reduced to an uninteresting subplot; the scene in which Kitty tends to Levin's sick, socially outcast brother is full of warmth and tenderness and the acting is allowed to speak for itself without fancy cinematic ornamentation.

Yet on the whole, however much I enjoyed the film's style and visual feast, it still felt rather unsatisfying. There is a veil of brilliance here, but it covers a shallow and unconvincing heart.