How to sell a Keira Knightley period romance and still distinguish it from every other Keira Knightley period romance? For Focus Features’ Anna Karenina, the answer is proudly touting spectacle while employing markedly modern embellishments. The eighth major screen adaptation of Leo Tolstoy’s classic novel, and the fifth film from hit-or-miss Brit Joe Wright, this spare-no-expense movie wears its grandiosity on its ruffled sleeve, as the recently released trailer certainly attests.
The poster is at once overstuffed, dazzling, tacky, evocative, arrogant, and perfect. Like a shot of an antique shop raided by the royal court and Chris Van Allsburg, it blends opulent production design with near-absurdist block font, which serves to communicate the clout of the story, its endurance in modern times, a diva sensibility, and even the wintry Russia setting, reflected in the gleam of those imposing, towering letters. Positioning its elements on a glitzy stage to boot, the image promises precisely what the trailer does in all those shots of swirling sparks and beating fans: a slick and swoony costume drama of almost goofy proportions.