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This Academy Award winner for Best Picture is a sweeping soap opera about the guests at the Grand Hotel. Several plots intertwine, but mostly it's about Stars! Stars! Stars! Greta Garbo, Joan Crawford, Wallace Beery, and both Barrymore brothers head up the cast. Garbo is luminous as Grusinskaya, the neurotic and famous-but-slipping dancer and, yes, she "vonts to be alone." John Barrymore is a cat burglar with blue blood and a heart of gold, and Lionel Barrymore happily caroms off him as Mr. Kringelein, a dying man who wants to live out the time he has left with the rich. Joan Crawford is perhaps the biggest surprise of the movie: as Flaemmchen, a young career girl trying to decide between secretary and tart, she is uncharacteristically funny, vivacious, and downright bubbly. Along the way we discover that money, fame, and titles don't guarantee happiness, and being a jewel thief doesn't necessarily make you a bad person. The nicest touch is the hint that other, minor plots swirl around the edges of the film, suggesting that we've only seen a small chapter of the hotel's story. Grand Hotel is a great deal of fun and an excellent chance to see some famous faces in their prime. --Ali Davis ... Read more

Description

The story of The Love Goddesses is itself a history of sex in the movies beginning with America still in the shadow of the Victorian era and the movie heroine bound by the same conventions as any young lady of society. This brilliant documentary chronicles the massive changes in women's film sexuality from the beginnings of the motion picture at the turn of the century to the newfound frankness of the 1960s with clips of more than 100 actresses. ... Read more

Reviews (3)

An okay DVD
This DVD is dated. It looked as if it was made no later that 1960. Poor picture quality, and they could've featured more love goddesses.

DVD just like the video
While most DVDs add something special to the disc, this one has nothing new to add. Both the video and DVD have some entertaining clips of Theda Bara, Marlene Dietrich, Clara Bow, Pola Negri, Ingrid Bergman, Marilyn Monroe and others, but, unfortunately, the cuts between the Love Goddesses are obvious, as if the producers have done a quick job of putting all the actresses on a list and then splicing from one actress to another, without rhyme or reason. That's a shame because the subject is interesting. Still, if you love to watch some fascinating footage and will forgive the sudden shifts from one actress to another, you will enjoy "The Love Goddesses."

Celebrating the Love Goddesses of the Silver Screen!
This film, produced in 1965, is a wonderful collage of the many kinds of vamps, starlets, love goddesses, girls-next-door and sirens that have graced the silver screen since the turn of the century. See Theda Bara, Pola Negri, Lillian Gish, Gloria Swanson, Greta Garbo, Marlene Dietrich, Elizabeth Taylor, Ginger Rogers, Rita Hayworth and even the child star Shirley Temple put their own indelible brand of love on the screen. It examines how, over the course of sixty years, women's sexuality has evolved, and played itself out in different arenas in film. While some of the film clips are a little iffy, it is exceptionally well made. A pure joy to own if you are an admirer of any of the actresses presented, interested in women's studies, pre-code Hollywood or the history of sexuality in film. ... Read more

Reviews (17)

Brilliant and Timeless Love Story - a Masterpiece
I have seen many, many classic movies. I have seen the best performances of the best movie stars and I have seen all of the most respected classic films. None come close to Camille, the best movie ever made! I'm not kidding, either. This film is pure magic. The screenplay is brilliant and flawless. The romantic lines will last in your memory just as long as the beautiful images. And there are many unforgettable scenes.. Garbo drops her fan as she walks down the staircase (in a magnificent Adrian gown), as she sees the man she loves. The scene where Robert Taylor throws his money at the woman he can't have. And the single best scene in motion picture history..Garbo's legendary and tearjerking death scene. The first time I saw this movie, the end made me cry uncontrollably for half an hour. Just as magnificent are the heartfelt performances by Garbo and Robert Taylor, who is sensitive and tender, as his character should be. Garbo is breathtaking in her best role. Her lines are perfectly blended with her character, such as when she is on her deathbed and whispers, "If you can't save me, how can a doctor?" or "My heart isn't used to being happy." As they are falling in love, the lines are absolutely wonderful, such as when Taylor tells Garbo his parents were married 30 years and Garbo says, sadly, "Nobody could ever love me 30 years." People could laugh at this movie and say it is sentimental, but that just indicates lack of heart. I have never seen a movie without a sentimental script that ever inspired me to write. This movie inspired me in every way.. It inspires us to be more compassionate towards each other and live to love. This is the most effective love story ever told, and this 63 year-old film still breathes life into a 150 year-old story. Why? Because it is timeless. A story is only old if the artists think so, but this film is a masterpiece. It will always be my favorite movie.

Little bit on the boring side....
Yes, I just saw this movie tonight at the Metropolitan Museum of Art as a tie-in to its exhibit on MGM costume designer Adrian, and I was surprised to find myself getting restless.

I think there might be too many scenes in the beginning that are similar, when boytoy Robert Taylor keeps trying to convince jaded courtesan Greta Garbo that he can love and take care of her better than anyone else. In movie shorthand, this should've been established with just one scene. It's a Cukor film, and looks it. By that I mean, Cukor somehow managed to make his movies look antique--just think of Hepburn's "Little Women" or Bartholomew's "David Copperfield". A tad treakly and too soft focus not to sit 100% right with present-day viewers.

But that's not to say that "Camille" is a bad movie, because it's not. Garbo gives a very interesting performance as Marguerite; she does a lot with her eyes in the early scenes to convince us she's got some kind of interior life going on. Laura Hope Crews offers good support as her flighty friend Prudence--hard to believe it's the same woman who played Aunt Pittypat in "Gone with the Wind" a few years later. Best in show: Henry Daniell as Marguerite's lover the Baron. Now, we're supposed to see him as an ogre, I suppose. But really, she IS trying to play him for a chump and cuckcold him with Taylor's Armand, so I must side with the Baron on that one, for self respect. Daniell puts over cynical acceptance of things like the pro he is.

And about that tie-in to the Met: These costumes are truly outstanding, not just for Garbo but for every woman in the movie. Exquisite, every one of them! Dying of consumption may not be fun, but it sure is something to look at clothes-wise.

Great Garbo--The Rest , well . . .
Greta Garbo is so good in this film, so witty and touching and appealing, that it's easy to forget how ordinary much of the surrounding film is. To be sure, it was given a lush budget and Henry Daniell, as Garbo's "patron" of the moment is almost as accomplished and touching as she (how much more interesting; a love story between two people who are prevented by convention from admitting the fact, even to each other), but Robert Taylor's perfromance is as stiff as his collars, the rest of the cast is little more than competent, and George Cukor's direction confirms that he was much luckier in his casts than they were in getting him as a director; Vincente Minnelli actually got a performance of sorts out of Lana Turner--a few years earlier Cukor did little more than make sure the lighting was flattering and that Turner didn't trip over the furniture. Fortunately, Garbo had no such problems, and her performance makes Maguerite Gautier one of the wittiest and most appealing characters in film history, and when she dies at the end, she makes you feel that a little bit of what makes the world good left with her--not a bad accomplishment, that.

Inspiration for Baz Lurhman's "Moulin Rouge," perhaps?
I thought Camille was a very good movie. Greta Garbo is stunning as always, and I really liked Robert Taylor as her love interest. As I was watching the movie, I couldn't help but notice some startling similarities between this film and the more recent, Moulin Rouge, starring Nicole Kidman and Ewan MacGregor. Some lines in Camille sound almost exactly like one's in Baz's flick, and Greta's character, Marguerite, does resemble Nicole's Satine; at first, they seem over the top party animals, and then you realize they're regular, sensitive girls (and they both have a fatal illness). Also, the Baron in Camille is quite a lot like "the Duke" in Moulin Rouge.
Anyways, sorry for the rambling. I recommend you see this film. Especially if you enjoyed Moulin Rouge!

"You will never love me thirty years; no one will"
Quite by accident I saw this film and "Bridget Jones Diary (2001)" on consecutive evenings; both are about women of a similar age with somewhat similar dilemmas. Their approach (as films), however, is two generations apart--with the contemporary one rather shallow, the former (Camille), more idyllic and, in my opinion, more satisfactory.

Camille (an odd title--flowers?) is about Marguerite Gautier (Greta Garbo), a Parisian woman of the 19th century torn between love and money. The main attraction of this film is its romance. Robert Taylor, as Armand Duvall, shows undying love to Marguerite, in spite of his occasional jealousy. She, who initially resists his advances because she is practical and worldly, is eventually taken by his devotion. Armand's father (Lionel Barrymore) intervenes--leading to a sacrifice by her, and, eventually, tragedy.

The Baron (money), is a superbly-played character and not so hateful as many reviewers imply. He, too, makes a noble sacrifice. There is a great scene where he plays an incredible piano amidst a very tense moment.

This film, because of its age, may not seem readily accesible to the contemporary viewer. But in spite of such it did not take long before this viewer was sold on watching it all. "Camille" is well done and, for those who really like romance, probably a classic film. ... Read more

Reviews (23)

Garbo Was Amazing!
Ernst Lubitsch has made many wonderful films such as "To Be Or Not To Be", and "The Shop Around The Corner", and while I perfer those two over this one, this film definitely is not without it's own charm. I seriously don't think Lubitsch was capable of making a bad movie, even if he wanted too! He was a far too talented filmmaker! And this movie showcases his talents very well. Three russian agents ( Felix Bressart, Alexander Granach, and Sig Ruman) are sent to Paris in order to sell priceless jewels once owned by the grand dutchess (Ina Claire). When word gets to her about the agents, she immediately waits to get back her jewels. This all makes for a setup to introduce Ninotchka (The Great Greta Garbo. While I'm definitely too young to remember her when she was at her peak. I've always been aware of the famous name GARBO!) Once she arrives in Paris she is amazed at the way people live, she can't stop looking at the "wild" fashions she finds women wearing. She soon meets a man, Melvyn Douglas (Count Leon d' Algout) and they fall in love. Now, I don't want to give too much away, but, all I can say is, this is a wonderful "classic" comedy to watch that I'm willing to bet will please many movie lovers with it's warm charm ,wit, and Garbo! The movie was nominated for 4 Oscar and one for Garbo's performance which was rightly deserved, too bad she didn't win.

"Not radio. Let's have music that's just for ourselves."
Ninotchka is a funny, well-written film with a good dash of romance showcasing Greta Garbo's beautiful, expressive eyes.
Her unlikely relationship with Melvyn Douglas is a hit; one that you hope will succeed.

The only flaw in the film is its characterization of Soviet Russians as buffoons (contrast the simpleton emissaries with the multi-faceted duchess) and its constant smug references to the superiority of the U.S. political system. Initially these references are just another facet of the good comedy: "I've been fascinated by your five year plan for the past 15 years" but after awhile they wear thin: [the man walking through another's apartment to get to his own or the line about the bird leaving a crumb of black bread].

Nevertheless, the action and the script, taken as a whole, is very smart and very funny. It includes some great romantic lines such as when a wooing Douglas (referring Garbo to a clock) says, "Look, one hand has met the other hand...they've kissed."

Garbo is the star. I didn't have any pre-conceived expectations of what she wouldn't do but the laugh scene in the cafe is certainly one of the highlights and key moments of the film--one that will likely have you laughing too.

Garbo's great comedic role
Yet another yummy Ernst Lubitsch comedy, this time starring the often-dour Greta Garbo as a humorless Soviet agent who is seduced by Western materialism (and a dashing, jovial Melvyn Douglas) while on a mission in Paris. Some may find the film's political aspects to be dated -- but hey, that's totally the point! Lubitsch manages to lampoon both Stalin-era communism and the American stereotypes of the French (as libertine sensualists) all at one time... And while the Soviet state is roundly mocked, the plight of its people is not, so that Garbo's character is given her dignity and honor... as well as some swell close-ups and nice clothes! The best part of this film is her transformation from a robotic, literal-minded Party functionary into a fully-rounded human being... The scene in which Douglas tries to crack Ninotchka's icy facade, telling jokes and acting up in order to provoke a laugh or a smile, while she rebuffs his every overture in a clipped, chilly monotone, is one of Garbo's best performances, and a brilliant comedic stroke for Lubitsch. In effect, the manic, wisecracking Douglas is turned into a straight man for Garbo, whose minimalistic delivery controls the scene, in an almost Steven Wright-like manner. And, of course, the rest of the film is a delight as well. A fascinating, frivolous look at prewar European politics, and a real humdinger of a screwball comedy, with a clever, snappy script co-written by Billy Wilder. What's not to enjoy, comrade?

Definitely one of Lubitsch's ten best films -- A classic!
Ernst Lubitsch is my favorite director, and this movie shows him at his best. He is sometimes incorrectly identified as a screwball director, but in fact he never really directed a screwball comedy in the sense of Howard Hawks or Leo McCarey. For the most part, Lubitsch specialized in sex comedies in the European tradition, even if after 1934 the Code administered by the Hays Office forced him to minimize the sex.

NINOTCHKA is a very great film. It features a marvelous leading performance by the always spectacular Melvyn Douglas, and an unexpectedly successful comedic debut by Greta Garbo. Rounding out the cast is a spectacular collection of great character actors, many of them Lubitsch regulars like Felix Bressart (though Bela Lugosi is shockingly underused in the film, certainly not enough to justify his high billing). The script was primarily the work of the great Billy Wilder, arguably the greatest comedic writer in the history of Hollywood (he paired with an American who could clean up his frequently ungrammatical English, early in his career with Charles Brackett and later with I. A. L. Diamond) and still three years from being allowed to work as a director. But primarily, this is yet another great work by one of the greatest directors in the history of cinema, Ernst Lubitsch.

One thing that truly amazes me about Lubitsch is how little he seems to have been affected by the Hays office and the imposition of the Code in 1934. There is no question that his pre-1934 films are a lot more fun and a heck of a lot more mischievous, and that is a huge loss because Lubitsch was always better when he could be a tiny bit naughty. I think of the hysterical moment in DESIGN FOR LIVING where Miriam Hopkins, Gary Cooper, and Fredric March take an apartment together in Paris, and although she is deeply attracted to both men, they make a "gentleman's agreement" not to engage in any non-Platonic activity. Everything is fine until playwright March goes to London for a production of his play. Left alone, Hopkins and Cooper pace nervously around the apartment without their chaperone, until they bump into one another, Hopkins gazes up at Cooper, and then flings herself lasciviously on a couch, proclaiming, "We had a gentleman's agreement. But I'm not gentleman!" A great moment, but DESIGN FOR LIVING was released in 1933, and a year later the line would have been stripped out of the movie (indeed, many of Lubitsch's pre-1934 films wouldn't be certified by the Hays Office for re-release because they considered them too naughty, like THE MERRY WIDOW, TROUBLE IN PARADISE, and ONE HOUR WITH YOU). But despite the Code, Lubitsch was ever the imp, and manages a delightful degree of anarchy in NINOTCHKA. Very little is stated, but a great deal is implied.

As fine as this film is, it is far from my favorite Lubitsch film. Despite being regarded as one of the greatest directors in the history of film, and arguably the finest comedic director ever, Lubitsch is still stunningly underrepresented in DVD. Although the film I believe is his finest, TROUBLE IN PARADISE, was recently released as a Criterion disc, and THE SHOP AROUND THE CORNER is available, none of his other best films are out on DVD. At least some of his finer films like TO BE OR NOT TO BE or HEAVEN CAN WAIT (not to be confused with remakes of HERE COMES MR. JORDAN) were available on video. I'm not sure that ONE HOUR WITH YOU was ever even released on video. The good news for those who love NINOTCHKA and THE SHOP AROUND THE CORNER is that Lubitsch made several other films just as good as these, and a few that were even better. We can only pray that these will be made available shortly.

Madame , this is a restaurant not a medow!
So says the Parisian waiter to the stern Ninotchka (Greta Garbo) as she orders a plate of---well I guess it could pass for nouvelle cuisine in California today.

Meanwhile Count Leon (Melvyn Douglas) smitten hopelessly with 'my beautiful, barbaric Ninotchka' attempts to convince her that he dines at this 'worker's proleteriat' restaurant every day, and worse, tries to make her lsugh by telling her a lame joke about two Scotsmen. Am I getting to complicated? No matter, this scene, like every other scene in this film, is funny, witty, urbane and has a wonderfull pay-off at the end.
NINOTCHKA is THE archetype of the romantic screwball comedies.

The best.--and Garbo's only comedy.

Lubitsch's masterpiece (I'd give 'To Be or not To Be' a close second place) is delicious fun all the way through.

Greta Garbo spoofs communism, French sophisticates, the eternal war of the sexes, but most of all, she spoofs the screen personna of Greta Garbo.

One can tell that she had a blast playing counter to type--no melodramatic semitragic heroines here, it's pure wit and laughs. A fast and crazy ride, as the idealistic Ninotchka falls in love.

Among the writing credits you might notice a recent emigre to America: Billy Wilder.

See it with someone you love. And if you start to get carried away, 'Suppress it' ... Read more

Reviews (9)

Oh, could have used more Basil!
I'm extremely partial to Basil Rathbone, who played Anna's husband Karenin in this 1935 movie. Now, we're all familiar with Basil's villains, like Sir Guy in "Robin Hood" or his indestructible hero Sherlock Holmes. This time he was trying something different for a while: he actually was conveying nervousness when his character had to take his wife to task for her improprieties. Very unlike Basil, and I was surprised and delighted to see it. However, his character quickly had to become A Mean Vengeful Husband in order to make Garbo's Anna look good, and that was a bore.

Which brings me round to my general opinion of "Anna Karenina", notwithstanding BR. I found this an unsatisfactory representation of Tolstoy's novel because the characterization of Anna is all wrong. Garbo is much too confident, too together to make this story work. Anna is a formerly above reproach wife of a bureaucrat. Finally, she attracts some attention from a dashing army officer and then she falls from grace. I guess no one had tried to seduce her before; she is not in love with her husband. But though she chooses to pursue her illicit affair with Count Vronsky the officer, she cannot withstand society's rejection of her. It's not just "oh, she saw him talking gaily to a blonde"--it's the whole of Russian society that turns its back on her for her sin. So, she starts to lose her grip mentally which is why she takes A Drastic Step at the story's end. Greta Garbo didn't seem all that interested in Fredric March's Vronsky, at least not so much to follow him to Venice. I also didn't think she interacted effectively with her husband in their early domestic scenes, either. Here, she was the one giving him the cold shoulder and he looked alienated. I would more certainly have believed he would be the one to look for consolation from Vronsky! Or at least somebody.

Of course, with such a short running time, the Levin/Kitty subplot went nowhere. That's also too bad, because Maureen O'Sullivan's Kitty was cutting a good figure as the jilted somewhat jealous Kitty at the ball. Although a lot of reviewers really slam Fred March, he's okay, especially when he becomes increasingly exasperated with all the doggone togetherness his affair with Anna has brought him.

Bottom line: Garbo not cast correctly. Lengthier treatment would have allowed for more deserved depth of character for both Basil and Maureen.

Greta Garbo in one of her greatest roles
The classic 1935 adaptation of Leo Tolstoy's tragic masterpiece is still a joy to behold. Greta Garbo is breathtakingly-lovely in one of her greatest screen performances.

Anna Karenina (Greta Garbo) lives a life of dull monotony, broken only by the presence of her engaging son Sergei (Freddie Bartholomew). Her cold husband Karenin (Basil Rathbone) treats her more like a trophy than a wife, and she relishes her carefree visits to her relatives.

When Anna falls in love with the dashing - and younger - Captain Vronsky (Fredric March) she gives way to a great passion...and even greater tragedy.

This was in fact a remake of the hugely-successful silent film LOVE, again starring Greta Garbo with her frequent leading-man (and lover) John Gilbert. Both versions are splendid, but this version stays more faithful to Tolstoy's novel.

Also starring Maureen O'Sullivan, May Robson and Reginald Owen.

Garbo Salvages It
Greta Garbo stars in this adaptation of Tolstoy's famous novel as the title character, a woman whose loveless marriage leads her into the arms of another man ... and then to tragedy. Garbo, always fascinating to watch, is very strong in the role of a woman torn between her love for an officer and sacrificing her child. Fredric March, as the officer she loves, does not register as strongly. It's difficult to see the attraction he holds for Garbo. Basil Rathbone, playing Garbo's rigid husband, is appropriately cold, while the rest of the cast walks through their roles without much notice. All in all, the film failed to engage me to any great degree. The screenplay is stiffly written, with little time given to showing how the lovers' relationship developed, and several wooden moments of dialogue that fall flat. Were it not for the presence of Garbo, I don't think there would be much to recommend in it. From the great moment at the beginning where her face first emerges from the smoke by the train, she gives the film whatever magic it has.

Triumphant
It is appropriate that one of literature's greatest and most tragic figures, Tolstoy's Anna Karenina, is given compelling life on screen by one of fildom's most gifted and spellbinding artists, Greta Garbo, in MGM's luxurious production of Tolstoy's masterpiece, "Anna Karenina".

Anna is the neglected wife of Russian aristocrat/bureaucrat, Karenin, haughtily portrayed by Basil Rathbone. Karenin is consumed by his career and social standing. It seems that the only reason he married Anna and had a son with her is to enhance his "respectibility" in society.

When a handsome officer, Count Vronsky, played with conviction by Frederic March, understandably is infatuated by the astonishingly beautiful and charming Anna, he makes this known to her. He is persistent in his pursuit of her.

At first Anna is reticent to his charms, but eventually succumbs. This story takes place during the 1800's under the reign of Czar Nicholas I of Russia. In this era, there was a strict and judgmental social code. Adultery was treated like a crime or a contagious disease, and Anna finds herself the object of scorn and ridicule among society.

Anna's husband Karenin refuses to grant Anna a divorce and tells their son that Anna is dead when she flees to Venice with Vronsky. Eventually Anna becomes a social outcast because of her affair, and Vronsky begins to suffocate from their relationship. He decides to go off to war rather than be with Anna constantly.

Devasted by Vronsky's abandonment and shunned by society, Anna's fate is tragic.

I can imagine few other actresses than Greta Garbo who could so realistically embody the character of Anna. Anna is essentially a good person, a loving mother, and dutiful wife. But she is starved for tenderness and affection so she turns to Vronsky. Garbo subtly conveys Anna's despair and loneliness in her loveless marriage to Karenin. Garbo makes you empathize with her predicament, and you truly feel the joy, passion, and guilt that Anna experiences as she falls in love with Vronsky.

As an actress, Garbo is a minimalist in the best sense. She understands that less is more. She can gladden or break your heart with a glance, a smile, or the slightest tilt of her posture. Her eyes are wondrously expressive. This is a masterful, mature, and dignified performance by a consummate actress.

As for the rest of the movie, the direction, sets, and photography are all impressive. And Garbo's unearthly beauty is complemented by the ravishing costumes designed by Adrian. This version of "Anna Karenina" is a triumph.

I Like Fredric March, but I didn't like him in this film...
....because he plays a cad and I just can't take seeing Fred playing a cad! I was glad to read in his bio that he himself didn't want to do this part, feeling it wasn't really the best for him. But he had to do it...Really, he is much better as the romantic GOOD guy, not the sort of romantic, selfish BAD guy.

I will start first with what I liked about this film. First of all, Fredric March. This man rarely fails to impress me as an actor. He was just such a wonderful guy too...so handsome and romantic. In this, he looks terrific in the military uniforms, has a GREAT haircut and a cute little mustache. Once again he has a drunk scene, which is very unique. All these Russian soldiers drinking shots in unison and with the precision as if they are doing drills on the parade field. And then they must crawl under the table, come back to their place, and then the commander shouts orders to prepare for the next drink...truly weird!! Also, the opening shot of the LONG LONG table of food was very impressive. I liked Basil Rathbone because he did a great job of being the strange husband of Anna's. I liked the relationship Anna had with her young son. I liked seeing Fred doing the Russian dance at the party.

What I didn't like. As mentioned before, seeing Fred as a cad. I didn't like his selfishness. I don't like Greta Garbo much, and while she did okay in this film, she just seemed so tragic in spirit all the time, like she never really was happy, but was in a trap of an unhappy marriage, yet her affair with Vronsky was not any happier. It didn't seem like they really liked each other; I didn't feel any passion between them; it was very strange how the whole love affair was handled in the film, but then I read that the Code had a lot to do with that. I don't approve of affairs; and I couldn't respect Anna as a person because her values were wrong. She gave up her son for a fling with another man. A mother who truly loves her children will never go and seek something for herself at the expense of her children.

The whole film was generally dark and meloncholy, sad and tragic. You could be happy for neither Anna or Vronsky. You sit at the end of the movie only feeling sad for their tragedy. It is not a "happy" watch.

But I did like to gaze upon a handsome Fredric March! If you want to see Fredric as a Russian soldier again...see him in We Live Again. He is young and handsome and beautiful in this one too. Based on Leo Tolstoy's "Ressurection", he plays a cad in that one as well, but happily we get to see him realize the errors of his ways and he make his wrongs right.

I must also share with you that this Anna Karenina is MUCH better than the later remake with Vivien Leigh. Skip that one, watch this one. ... Read more