Latest / The Art of Costume Podcast / Anna Karenina (2012)

Transcript

Anna Karenina (2012) · The Art of Costume Podcast

• 0:00
  Hey costume nerds, quick PSA from Lord Spencer and my dear Co
• 0:05
  host Elizabeth. We had a little camera
• 0:08
  malfunction this week, so about. A.
• 0:10
  Little bit about halfway through the episode the camera is going
• 0:14
  to stop working, so it'll be fully just pictures from that
• 0:19
  point forward. You'll still hear our beautiful
• 0:21
  crisp voices, but if you're watching on YouTube, you'll just
• 0:25
  be looking at pictures, which for most of you, you might think
• 0:27
  that's maybe a relief actually, you know, just.
• 0:31
  Just. Just chill.
• 0:34
  I mean, honestly, it's a beautiful cast.
• 0:36
  That's Keira Knightley, Aaron Taylor Johnson.
• 0:39
  So actually that might be better obviously in the long run.
• 0:43
  So, but next in our next episode, we will have our camera
• 0:47
  situation back in order. Enjoy our Anacrinina episode.
• 0:59
  Hello, Welcome to the Arctic Costume Podcast.
• 1:01
  I'm Elizabeth Joy Glass. And I'm a wannabe but likely
• 1:05
  going to be disappointed one day.
• 1:07
  Land owning aristocrat Spencer Williams.
• 1:12
  I'm never going to own land, let's be real.
• 1:13
  None of us are going to own land, ever.
• 1:17
  Welcome to the Arctic costume Podcast.
• 1:19
  Costume nerds, thank you so much for joining us for our Toxic
• 1:23
  Relationship Month. Yeah, we've been so excited for
• 1:26
  this one. I've been so excited.
• 1:28
  I've been wanting to do Anna Karenina for a while, but it's,
• 1:31
  it's never been like top of the list 'cause there's there's,
• 1:35
  it's a fantastic film, but there's so many fantastic
• 1:38
  things. And then when I was like
• 1:41
  February, toxic relationships. I've been very excited for this
• 1:50
  one. I'll, I'll just give a quick
• 1:51
  plug at the Academy Museum, there's a great exhibition right
• 1:54
  now showcasing the production designers who work with director
• 1:58
  Joe Wright quite a lot. You know, I'm Pride and
• 2:00
  Prejudice, Atonement Barbie. They did a production design for
• 2:05
  Anna Krinna as well. And in the first room of this
• 2:08
  exhibit, you get to walk in and see the set of Anacrin.
• 2:12
  And it's this little box that shows the theater.
• 2:15
  And I hadn't seen Anacrin and I get, and you get to look in a
• 2:18
  theater and I was like, wow, like there's a lot of showcase
• 2:21
  on this one little theater. Like, that's pretty cool, you
• 2:24
  know, and you get to peek into it and I just, I was like, I
• 2:27
  don't know, it just looks like such a cool artsy film and I
• 2:31
  love period drama. So I was very interested in
• 2:33
  seeing it. So still, with all that, I did
• 2:36
  not know totally what to expect of Anna Krinana.
• 2:39
  And this was a wild ride. So I'm so glad we finally got to
• 2:44
  see it. So.
• 2:46
  But before we get into it, we actually have some news to cover
• 2:49
  because we have our Academy Award nominees for 2026 and
• 2:52
  costume design. I'm so excited to say that this
• 2:55
  year's costume design nominees are as following.
• 3:00
  We have Deborah L Scott for Avatar Fire and Ash.
• 3:04
  We have Kate Hawley, our friend who was just on our last episode
• 3:08
  for Frankenstein. Then we have Malgoja Terzanska
• 3:12
  who did the costumes for Hamlet, who was on an episode with me at
• 3:15
  the costume house with Spencer Williams.
• 3:18
  Then we have Miyako Bellizzi who did the costumes for Marty
• 3:21
  Supreme. And then we have one the only
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  who is now the most nominated black woman in Oscars history,
• 3:29
  Ruth E Carter, who did the costumes for Sinners.
• 3:32
  I'm so excited for all the nominees this year.
• 3:35
  This is a pretty packed lineup. I mean, honestly, every year I
• 3:38
  feel like there's one or two snubs.
• 3:41
  I'm pretty content with it. This year I don't.
• 3:44
  I don't have any complaints. Especially, like at the start of
• 3:47
  2025, I saw sinners and I was like, well, this has it.
• 3:50
  Yeah, this has it. And then just like Hamnett,
• 3:55
  Frankenstein, Avatar, like, yeah, the year just like has
• 4:00
  kept putting out excellent costumes.
• 4:03
  It's they're all so good. I just got, I mean, honestly, I
• 4:06
  just want to compliment the Academy.
• 4:07
  I feel like they did. They made some bold choices.
• 4:10
  I'm just I for once, I'm like, yeah, they really killed it this
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  year. I mean, putting Avatar in a
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  lineup to me is such like a great choice because Deborah
• 4:18
  Scott and her team do such great work and they've been working so
• 4:22
  hard on these films for 10 years.
• 4:24
  And finally to be acknowledged. And of course, I mean, I could
• 4:27
  talk about Frankenstein forever and Hamnets and sinners.
• 4:31
  And I think Marty Supreme is such an underrated costume film.
• 4:35
  You. Were telling.
• 4:36
  Me, if you haven't seen Marty Supreme yet, and I mean of
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  course I'm a card carrying member of Club Chalamet, but the
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  costumes are actually quite exquisite too.
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  So please check that out. I don't know.
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  Congratulations to all the nominees.
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  It's a pretty phenomenal year, so I'll reserve who you know I'm
• 4:53
  rooting for for now, but it's a good line.
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  It's an excellent lineup and. Who would you throw yourself in
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  front of a train for? Honestly, I do it for both
• 5:11
  sinners in Frankenstein. OK, that's, that's a great
• 5:18
  compliment like. Both deserve it.
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  Well with that I think we should get started with our toxic
• 5:28
  relationship. Totally threw me off with that.
• 5:33
  Yes, let us get started with the 2012 classic and a Karenina.
• 5:41
  There are many adaptations out there, but we are talking Keira
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  Knightley, Joe Wright, the amazing Jack Linder, Anne, so
• 5:53
  much Spencer. I had to look up how many
• 5:55
  anacritinas there were. I there were a lot.
• 6:00
  So I guess we should have specified in our last episode.
• 6:03
  I think you all knew. But yeah, there's there's a lot
• 6:07
  of anacritinas. Out there, if you watched the
• 6:09
  wrong one it's OK. Just pause this, rent it on
• 6:12
  Amazon for a quick 2 1/2 hour and then come back.
• 6:18
  Totally. Yeah, give us a summary.
• 6:22
  Introduce us to our director. Center, so OOP almost called it
• 6:26
  Pride and Prejudice. Anna Krinina is directed by Joe
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  Wright, whom you'll know. We've talked about him quite a
• 6:33
  bit on the podcast who's done Pride and Prejudice Atonement,
• 6:36
  which I'm very excited to see soon.
• 6:39
  The Soloest, Darkest Hour and Cyrano.
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  Set in a 19th century St. Petersburg, the film follows
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  Anna Karenina, played by Keira Knightley, the wife of Russian
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  Imperial Imperial Minister Alexi Karenina.
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  When Anna begins a Wendy Williams Show worthy affair with
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  charming, dangerously handsome, swoon inducing, scandinously
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  alluring and possibly dashing, heart meltingly, devastatingly
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  silk suited, eyebrow raising, carriage riding, eye popping,
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  mustache twirling, conversation stealing, gown turning, heart
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  snatching, socially obliterating Count Bronski, it sparked the
• 7:18
  high society scandal that leaves her facing an impossible choice,
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  Follow Bronski into exile and lose her young son or remain
• 7:26
  with her family and live by strict rules of discretion.
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  She makes the correct choice. Maybe, maybe not.
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  Running alongside and a story is loving a land owning aristocrat
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  in love with Princess Kitty, who unfortunately for him is very
• 7:42
  focused on Bronski. Because nothing says 19th
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  century romance like longing, restraint and beautifully
• 7:47
  tailored emotional suffering. And that is Anna Karina, how are
• 7:54
  you doing? So so often you just go on the
• 8:02
  Internet and and and snag a summary.
• 8:07
  Not this year. Not in Season 6.
• 8:09
  That's what I was expecting for Anna Karenina, 'cause this was
• 8:13
  your first time watching it, how did you like it?
• 8:20
  Like in season 6, I'm not stealing any summaries.
• 8:23
  I may be inspired, but I'm writing my own summaries in this
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  season. I liked Anna Kritida.
• 8:32
  It was a good film. It it caught me off guard, but I
• 8:36
  get it. I mean, this whole film is about
• 8:40
  just how, you know, I mean, Keira Knightley's character,
• 8:45
  Anna Karenina is just losing it over Aaron Taylor Johnson over 2
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  1/2 hours. And I just think that's a very
• 8:51
  relatable problem a lot of women would find themselves in.
• 8:55
  I get it. Yeah, yeah, yeah, I get it.
• 8:58
  If you're watching this at home and not driving, raise your hand
• 9:01
  if you would if you could possibly find yourself in this
• 9:03
  situation. Yeah.
• 9:08
  Yeah, anyways, let's meet the costume.
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  Let's meet the costume designer Jacqueline Duran.
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  You will know her work from 2005 Pride and Prejudice Atonement,
• 9:21
  for which she got an Oscar nomination.
• 9:24
  Nanny McPhee returns today's film Anna Karenina, for which
• 9:29
  she got an Oscar win. I.
• 9:31
  Believe the only Oscar win for Anna Karenina was Jack
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  Jacqueline. It was Mr. Turner, another Oscar
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  nomination, live action Beauty and the Beast Oscar nomination,
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  Darkest Hour Oscar nomination 1917 Little Women from 20/19,
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  her second Oscar win. Spencer, which we did, one of
• 9:57
  our first, I think that was like the Season 2 premiere that was.
• 10:03
  Just a throwback shoot. The Batman and Barbie.
• 10:09
  All episodes we've done on this podcast, we did The Batman.
• 10:12
  I honestly, I'd forgotten about that till I was reading it just
• 10:15
  now and I was like, Oh my gosh, we have a Batman.
• 10:17
  We have a Batman episode because I remember in the film The
• 10:21
  Batman, there's a Little Caesars advertisement, and after we did
• 10:24
  the podcast, I got those. Anyways, carry on, Elizabeth.
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  This is a packed film with beautiful costumes, so we got to
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  go behind the costumes, starting with the conversation she had
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  with Vanity Fair, where Jacqueline discussed the
• 10:51
  direction Joe Wright gave her for the film's saying.
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  In our first meeting, we talked about how he wanted to pare down
• 11:00
  the costumes to the kind of essence of them, down to the
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  silhouette. The way he illustrated that to
• 11:08
  me was to look at 50s couture and say, take this kind of style
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  and apply it to the 1870s silhouette.
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  He also said no lace, no flounces, no ornamentation,
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  which if you know anything about Russian aristocracy before the
• 11:27
  fall of the czars, that's a big app, yeah.
• 11:31
  OK, so take everything I know about Russian aristocracy and
• 11:34
  just kind of put that out. The.
• 11:37
  Window, right? And also, this is someone who's
• 11:39
  very, very researched and knows everything about, you know,
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  historical costumes. Absolutely.
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  Jacqueline Duran does her research, but she told
• 11:50
  Fashionista about what it felt like to kind of not have to be
• 11:55
  beholden to that research. She said if you're doing
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  something that's completely accurate, you have to find a
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  reference to anything you do or make.
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  But once you're freed from that, you're left to the sense of
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  style or sense of interpretation.
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  That's quite liberating. So she was like, I just got to
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  tell the story. And I mean, obviously, if you've
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  seen the film, you know, she takes her research in with her.
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  But it definitely is a look that services the story and the
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  characters and fits into this crazy, not crazy, but
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  interesting world set by Joe Wright in a theater.
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  Right. And there is like a very serious
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  couture through line, through all of annex direction in her
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  costumes throughout this theatrical stage play that we're
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  watching and she literally dances through it.
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  Literally. The stage play was crazy.
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  I have to admit. I did not know what was
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  happening through the first half of this because it does start
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  with like some ball scenes and you're like, oh, like, cool,
• 13:02
  let's start. We're starting with a ball.
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  They're dancing. This is fun.
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  And then it just kind of doesn't stop, you know?
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  And you're like after. Watching it, you were like, I
• 13:11
  don't know what I just quite want.
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  I was like, oh, there's horses at the ball.
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  That's interesting. Who brought Who brings horses to
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  the ball? Who brings horses inside?
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  And. Then, oh, this is a permanent
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  thing. I get it.
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  Yeah. Yes.
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  And, well, it is a bit tricky for the audience.
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  It was also a bit tricky for Duran, she said.
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  It's very tricky because you don't know where the costumes
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  will be. You don't have a vision of the
• 13:39
  space the actors will be inhabiting.
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  The theatrical space had to be recreated almost daily to create
• 13:49
  another set or another scene. The ice rink comes, the next day
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  it's gone, and the next day it's a ballroom, and then it's
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  Princess Betsy's. You don't have a vision of what
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  the visual course of the story will be, she added, laughing.
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  It's a bit of a leap of faith, which it had to have been cause
• 14:16
  like I love like that like painted background they have of
• 14:20
  like the velvet, red velvet curtain that then lifts up and
• 14:23
  you see Kitty surrounded by like all these clouds because Kitty's
• 14:29
  the best kind of. It's it's really beautiful.
• 14:33
  And honestly, I really love the idea.
• 14:35
  I think it's such a bold idea trying.
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  I can't imagine Joe Wright trying to kind of like pitch
• 14:41
  this idea to everyone. And I'm like, what?
• 14:44
  Because like we said at the beginning, there are so many
• 14:46
  versions of Anacritin and how do you make something, especially
• 14:50
  when we know like Joe Wright's done, like they've already done
• 14:52
  Pride and Prejudice. They've, you know, they've done
• 14:55
  all these period films. So you know that we're going to
• 14:57
  do something close to the book. So, you know, it's going to be
• 15:01
  kind of a, you know, fill in the blanks type of period drama
• 15:05
  film. So how do you make something
• 15:06
  feel new and exciting? And this was the way to do it.
• 15:10
  Did it hit the mark all the time?
• 15:13
  Probably not. But like I thought it was such a
• 15:15
  cool choice. So now that I understood what's
• 15:18
  happening, I did go back and start to watch a second time and
• 15:21
  I think it's really quite exciting and fun.
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  I can't imagine it would be a challenge costume wise though,
• 15:26
  because knowing that all these costumes are being seen from so
• 15:29
  many different angles. I mean, you really have to take
• 15:32
  into account every detail of all these costumes and how they're
• 15:35
  going to be seen and all these changing environments and all
• 15:38
  these like really odd saturated colors that are painted into the
• 15:42
  background too. We're not working with real
• 15:45
  living environments all the time.
• 15:47
  Sometimes, but not. No.
• 15:50
  And Spencer, before we dive into the movie, we're going to take a
• 15:53
  little break and then get into Anna Karenina.
• 15:57
  I'm I'm so excited. There's a lot of costumes that
• 15:59
  breakdown in this. There are.
• 16:01
  I don't even know how we're going to do.
• 16:02
  This we're not even going to get to.
• 16:03
  We're not even going to get to all the.
• 16:04
  Characters cause. I was making the slides and I
• 16:07
  was like this is a lot. There's cast members in this
• 16:10
  film that I didn't realize were in it.
• 16:13
  Like Bill Skarsgard. Bill Skarsgard's in this.
• 16:15
  Film somewhere. Couldn't tell you where or who
• 16:18
  he plays, but Pennywise is lurking in this film somewhere.
• 16:21
  Appropriate. Are you ready to talk about Anna
• 16:30
  Karenina? I think I'm ready.
• 16:32
  I'm a little intimidated by this movie, not going to lie.
• 16:34
  There's there's a lot of you should.
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  Be. Starting with her dressing
• 16:41
  scene, which I love because it sets up the casual opulence of
• 16:50
  Anna's world and just how much she takes it kind of for granted
• 16:56
  and how you as the audience, I feel like, are almost supposed
• 16:58
  to take it for granted. It's like, yeah, she lives a
• 17:01
  ridiculously lavish life and that's just what it is 'cause
• 17:05
  she's like being dressed literally.
• 17:09
  I I love the scene where she puts out her hand and the woman
• 17:12
  puts her ring on 'cause she doesn't have to do anything.
• 17:16
  She's just reading this letter from her brother and being
• 17:20
  dressed in a gorgeous gown. Yeah, and we love a dressing
• 17:24
  scene on this podcast. Honestly, it's a little bit of
• 17:26
  like a a cold flex by the costume designer.
• 17:29
  It's just like I'm letting you know, like this is going to be
• 17:32
  I'm about to take you on a ride. Like a subtle anacritin, a
• 17:36
  dressing scene. Buckle up.
• 17:38
  I was watching this on the couch, you know, late at night,
• 17:41
  and I had a sit up. I was like, uh oh, yeah.
• 17:44
  Yeah, this is about to be around like.
• 17:46
  I think this is like my number one dressing scene of all time,
• 17:49
  closely followed by Mr. Knightley's dressing scene and
• 17:53
  Emma. But I love it.
• 17:56
  I also love the flex of Pudding, having her maid put her ring on,
• 18:02
  because jewelry played a huge role, as Jacqueline told Clothes
• 18:09
  on film, saying. We thought it would be good for
• 18:13
  the characterization of Anna, for all the jewelry that she
• 18:16
  wore to be real. Because she lives in this
• 18:21
  rarefied world of late 19th century Russia, where there is
• 18:26
  just an extraordinary amount of wealth.
• 18:30
  It seems to play into the setting of her world and also
• 18:34
  the kind of vanity of Anna as a character to have a wide range
• 18:40
  of jewelry and to wear it extensively.
• 18:44
  Once we decided that she was going to be wearing diamond and
• 18:49
  pearls a lot, we approached Chanel, with whom Joe and Kira
• 18:54
  have a relationship, and they were more than willing to help
• 18:57
  us. We went to Paris and they really
• 19:00
  gave us free reign to choose any piece we wanted.
• 19:05
  In the morning, Kira would be presented with a tray of
• 19:10
  diamonds from which to choose what to wear for the day.
• 19:15
  That exact excitement about luxury and the kind of glamour
• 19:20
  feeds into the idea of Anna for me and it, I think it was
• 19:24
  useful. And I love watching jewelry on
• 19:27
  screen. To me, they really added
• 19:30
  something and I don't know if anything aside from diamonds
• 19:34
  really glitters like that. I think they're kind of amazing.
• 19:40
  Oh wow. Can you imagine the security on
• 19:45
  that set? Jeez.
• 19:46
  Seriously though. Keira Knightley's just walking
• 19:49
  around in probably millions of dollars of Chanel diamonds and
• 19:53
  pearls. Just presented with a tray of
• 19:55
  diamonds. In the morning, just like here
• 19:59
  you go. What diamond ring do you want
• 20:01
  today, ma'am? That's.
• 20:02
  Insane. Like.
• 20:04
  There's no way that's a common occurrence.
• 20:07
  On a film? Absolutely not.
• 20:10
  But it pays off. I mean, this is she looks like
• 20:14
  royalty. It's very they sell it the whole
• 20:18
  time. Absolutely.
• 20:20
  And it does on something it it tells you the world she's in
• 20:25
  without being like, yes, the Russian aristocracy was
• 20:30
  ridiculously rich to the detriment of the rest of the
• 20:33
  country. Now here's Kitty, who I love
• 20:39
  Kitty in this 'cause she's such a like, she reminds me of like
• 20:44
  such a Jane Austen character, like that young woman who's like
• 20:50
  or even like Bridgerton, where she's like, this is my season.
• 20:54
  I've got my eyes on my man and he's going to marry me and it's
• 20:59
  going to be great and everything's going to be fine.
• 21:02
  I love that we see her really like starting in this like
• 21:05
  bright pink because to me it says that like you said, like
• 21:09
  she's like she's young. She's fresh.
• 21:12
  I mean, I don't know how young she's supposed to be, but.
• 21:14
  She's 19. I wasn't even say she's probably
• 21:17
  even younger, but I. Believe you, they say it in the
• 21:21
  film. That's the only reason I know
• 21:22
  that. But you she'd like, you said,
• 21:25
  like she's new to the scene and she's already like ready to
• 21:28
  settle down and she already picked.
• 21:30
  I mean, of course it's Aaron Taylor Johnson, like we said.
• 21:33
  So everyone's ready to pick Vronsky.
• 21:35
  But I love that pink on her. Also, Alicia Vikander looks
• 21:40
  incredible. Yeah, she looks incredible.
• 21:43
  I I love how like there's like, it's clearly like marriage
• 21:47
  market season 2 because 111 is talking to his bestie.
• 21:53
  Blonsky and Matthew. McFadden who?
• 21:56
  I didn't. I didn't realize that was him.
• 21:58
  Like, how do you not know? I was like, wait, didn't we just
• 22:01
  watch them on Pride and Prejudice and Love together?
• 22:03
  I did not put together that like he was Blonsky and Mr. Darcy.
• 22:11
  Anyway, I feel like when I watched it this time, because
• 22:14
  I've been a long time since the last time I watched it.
• 22:17
  So when I watched it this time around, I was like.
• 22:22
  It feels like it feels like 3 weeks ago that we did our Pride
• 22:25
  and Prejudice episode. So to me I was.
• 22:27
  It felt fresh to me. But like, I knew of that
• 22:30
  character, not that it was Matthew McFadden.
• 22:33
  But anyway, when Levin comes into town and Matthew Mcfadden's
• 22:37
  like, dude, why'd you leave? This Veronski character is after
• 22:43
  your woman. Yeah.
• 22:46
  Oh, also, I love how Kitty's pink really works with that blue
• 22:50
  background though. With the little accents of pink
• 22:53
  against it though, that's nice. The ribbons in her hair, like,
• 22:56
  it's such a youthful look. The way the fabric shines is
• 23:01
  just really perfect. And you have a Ronski next to
• 23:06
  her just really looking like, yeah, I'm going to marry this
• 23:09
  girl. All right, let's go.
• 23:12
  Yeah, and he's actually quite simple, 'cause that's all he
• 23:15
  needs. He's just, I mean, honestly, he
• 23:17
  has the swag, he has the curled up mustache, she has the hair,
• 23:21
  right? And he's just, he just has the
• 23:25
  collar up and his his pants and his suit is pressed and he's
• 23:29
  just ready to go. He's ready to go, but a train
• 23:32
  ride. We'll change everything, yeah.
• 23:36
  In several several ways. In in just a minute.
• 23:40
  Talk about the first train ride, Spencer.
• 23:43
  Gotcha, gotcha. We.
• 23:46
  Have Anna on her way to Moscow to get her brother Oblonsky
• 23:51
  Matthew McFadden out of trouble with his wife 'cause he is a
• 23:56
  trash man and has been cheating on his cheating on his lovely
• 24:00
  wife who's having having like what, their seventh child?
• 24:05
  Adultery in this film. Who would do such a thing?
• 24:09
  Who would have thought it, but Anna wears this incredible Cape.
• 24:20
  It is insane. It's insane, and Jacqueline
• 24:23
  spoke to Vanity Fair online about it.
• 24:27
  For audio listeners, we're talking about this like huge
• 24:30
  purple gown with like this like black and gold embroidered Cape
• 24:36
  with like fur trim and like the hat with the feathers and like
• 24:41
  maybe a subtle veil that's embroidered with it's.
• 24:45
  It's insane. It's such a incredible traveling
• 24:49
  look, and she told Vanity Fair the hidden meaning behind it,
• 24:55
  saying that Cape is taken from an example of a Cape in the
• 25:01
  Victoria Albert Museum. We debated whether to copy the
• 25:05
  Peacock feathers or not, but we decided to duplicate them
• 25:10
  because they're unlucky. We thought, oh how funny.
• 25:15
  Well, not funny, but she's covered in this unlucky motif
• 25:19
  and she's got 1 feather in her hat and she's about to meet her
• 25:24
  future lover Varansky. So, Spencer, did you know
• 25:31
  Peacock feathers are apparently unlucky?
• 25:33
  Had you ever heard that before? I had never heard that before.
• 25:36
  I, I kind of saw that note when we were getting ready and I, I
• 25:40
  literally, I feel like we've talked about Peacock feathers
• 25:44
  100 different times on this podcast and that's never come up
• 25:47
  before. No, it really hasn't.
• 25:50
  And so I went searching. I was like, what, What are you
• 25:56
  talking about? And I heard a lot of like
• 25:58
  Eastern European, like, 'cause it has an evil eye.
• 26:01
  Like they consider like the shape of the Peacock feather to
• 26:04
  be the evil eye. And I was like, OK, well, Joe
• 26:08
  Wright, Jacqueline Duran, they're from the UK.
• 26:10
  Let me see, like what the UK like, what their association
• 26:14
  might be from it. And I'm like, or maybe like they
• 26:17
  just found it in their research. Like, let me search around a
• 26:20
  little bit. So I go to like type into Google
• 26:23
  again. And Google suggests their first
• 26:27
  suggestion was, why are Peacock feathers bad luck in the
• 26:32
  theater? Where does our entire film take
• 26:35
  place? In a theater.
• 26:37
  In a theater and. Trains, but and also the the
• 26:41
  theater. The train is in the theater, so
• 26:46
  this Google search led me to artsemerson.org that gave me an
• 26:51
  explanation for why Peacock feathers are bad luck in the
• 26:55
  theater. It says Peacock feathers are
• 27:00
  never to be brought on stage. The eye on Peacock feathers is
• 27:06
  said to be evil. This belief comes from the Greek
• 27:09
  myth of the monster Argus, a nasty monster who had eyes all
• 27:14
  over his body. When Argus fell, his eyes were
• 27:17
  reincarnated into Peacock feathers.
• 27:20
  The evilness of the monster transferred into the colorful
• 27:24
  patterns of the Peacocks. Many thespians fear the evil eye
• 27:29
  on their sets. Whenever Peacock feathers have
• 27:32
  been made it have made it to the stage.
• 27:36
  Reports follow of entire sets collapsing, curtains Catching
• 27:40
  Fire and other horrendous events.
• 27:43
  Beware of the evil eye, that's one.
• 27:47
  Of my favorite behind the costume packs ever.
• 27:50
  Yeah, and I'm like, and Jacqueline Doran and Joe Wright,
• 27:54
  I think both of them have, if you're from the UK, chances are
• 27:56
  you have some form of like strong theater background.
• 28:01
  So I'm like, oh, they probably just know this.
• 28:04
  Oh, Jacqueline was definitely having a little cackle when she
• 28:08
  put those. Peacock feathers in Yeah, she's
• 28:11
  like, we're bringing Peacock feathers onto the into the.
• 28:14
  Theater So clever because this is the moment she meets Fronsky,
• 28:19
  and it's the beginning of her very slow, but eventual.
• 28:23
  End. Yeah.
• 28:26
  And she kind of almost knows it the moment she sees him.
• 28:29
  She knows he's trouble as soon as she sees him.
• 28:32
  And it's like, it's like her life flashes before her eyes
• 28:34
  behind that veil. Yeah, and she's clearly, like,
• 28:37
  kind of bored in her life. Like she loves her son, but like
• 28:41
  what little we've gotten of her husband so far is like he's a
• 28:43
  very serious man. He's serious, but then you're
• 28:46
  like, Oh yeah, let's see this dork of a husband and it flashes
• 28:49
  to Jude Law and you're like Jude.
• 28:51
  Law, shut up. Come on, man.
• 28:56
  Yeah, Jude Laws. Cool.
• 28:57
  He. Is cool.
• 28:58
  He Kernan is like kind of boring though.
• 29:02
  Right as a person, I'm just saying they should have got an
• 29:05
  uglier cast is what I'm saying. I'm just saying they flash over
• 29:15
  to Jude Laws. Like, come on, man.
• 29:17
  I love your strong opinions on this movie.
• 29:20
  It's just. I was like, let's go, people.
• 29:24
  You know who's going? Aaron Taylor Johnson as Varonsky
• 29:31
  in his military dress, looking crisp.
• 29:35
  I wonder why I love these shots of Vronsky in his military
• 29:40
  uniform because he looks like if you were to take like a black
• 29:44
  and white or sepia photo of him and put him in like a little
• 29:48
  like metal Oval frame, it was, it would look like a 1800s
• 29:53
  photo, Like he looks like he was taking out of a photo, 19th
• 29:57
  century photo. It's it's beautiful.
• 30:01
  He looks airbrushed. I know it's crazy.
• 30:04
  It's weird. That's insane.
• 30:06
  Also, this movie isn't exactly a new film.
• 30:09
  He looks the same. I.
• 30:11
  Know well, so does Keira Knightley, might I add.
• 30:13
  Actually, everyone in this cast, might I add.
• 30:15
  I mean we're talking about Olivia Williams, who the entire
• 30:21
  cast of Doom Prophecy is in this film and they all look the same.
• 30:25
  Matthew McFadden, who is just in succession looks the same.
• 30:29
  I mean the Cara Delevingne, I mean Emerald Fennell, the the
• 30:33
  entire cast. Everyone looks the same in this
• 30:36
  movie. I know Bill Skarsgard somewhere
• 30:38
  crawling around in it. Everyone looks the same in this
• 30:40
  film. Everybody does and Voronsky
• 30:45
  looks great in his, in his military dress.
• 30:49
  I I like if you look at Russian uniforms from the period,
• 30:55
  they're spot on. They are tiny bit simplified to
• 30:58
  fit into that, you know direction she was given from
• 31:02
  Joe, right? But her hardest direction from
• 31:08
  him was possibly his white suit that he wears to like all of the
• 31:15
  balls, she told Vanity Fair online.
• 31:19
  Joe also specifically asked for Varansi to be in bright white,
• 31:26
  which is a problem because bright white wool doesn't
• 31:29
  actually exist particularly. It is normally cream or off
• 31:34
  white. So I did find white wool, but it
• 31:38
  was not the right weight for making a suit.
• 31:41
  We had to just do it anyway because we needed bright white
• 31:47
  uniform. I love that effect.
• 31:51
  Yeah, that's that's hard to do. That is true.
• 31:53
  I mean I I can't think of ever seeing just bright white wool.
• 31:57
  That's no. That's not that's not a common
• 32:00
  thing. And you know, I thought like he
• 32:03
  like his suit always looked like very like stiff and like like
• 32:08
  always impeccable. And I was like, oh gosh, they
• 32:12
  like really nailed like this. Like Russian officer who's just
• 32:15
  like perfect. I'm like, Oh no, that's just
• 32:19
  'cause she couldn't get the correct suit weight.
• 32:22
  And it just. Worked, but there's also like
• 32:25
  like this purity to him, I mean. It's that he's putting on.
• 32:29
  That he's putting on. There's a purity to him, this
• 32:32
  like perfection, this facade that he's carrying around, which
• 32:38
  I don't know, I'm not trying to, He's not.
• 32:40
  I'm not trying to say he's like an evil person either.
• 32:43
  I don't see either of these characters as evil.
• 32:46
  People. Nor are you supposed.
• 32:48
  To right, but like, he's also not.
• 32:52
  He's not a good guy, no. No, he's also not like a hero of
• 32:55
  the story either. He also actively destroyed
• 32:58
  somebody's. Marriage.
• 32:59
  Right. But he walking around into this
• 33:02
  like perfect crisp white suit just is saying a lot.
• 33:06
  While later we'll see Anna Karenina walking around in like
• 33:10
  a stark red red. Yeah.
• 33:12
  So that's just shows like the dichotomy of like, how we see,
• 33:16
  you know, men and women and like these relationships,
• 33:19
  essentially. Absolutely.
• 33:21
  And I love it in this first big ball scene because Kitty is
• 33:27
  wearing this beautiful white dress with the like, baby pink
• 33:31
  accents. I think because everyone's like,
• 33:34
  oh, it's your night. It's your night, Kitty.
• 33:36
  I think everyone thinks Swaronski's going to propose to
• 33:38
  her. Yeah, I mean, she's wearing her
• 33:40
  like engagement dress, essentially.
• 33:41
  Literally. Which is so embarrassing about
• 33:45
  it. Kitty, poor Kitty in this moment
• 33:49
  because then she's like dancing her ass off to try and get his
• 33:52
  attention back. She.
• 33:53
  Even tells this little kid she's like, yeah, I'll dance if you
• 33:56
  third, by the way. You know, once I go down the
• 33:59
  line, I know I love her. I'll dance with you, nerd.
• 34:02
  She's like, it's your first dance.
• 34:03
  Like, OK, sure. I'll be married by the time I
• 34:07
  get to you. So what?
• 34:08
  Literally. She just looks, she looks like a
• 34:13
  bride in this by our modern standards, but it's just so
• 34:19
  sweet. And then like by the time it's
• 34:21
  all over, she just looks so sad 'cause it's frothy.
• 34:25
  It's white compared to Anna's, like, sophisticated black gown.
• 34:32
  Goth Bellatrix was strange going to the ballroom.
• 34:38
  Literally Spencer. Dude, I love this dress.
• 34:43
  Actually this is my favorite scene in the whole movie.
• 34:45
  I watched it four times last night in bed when I told you I
• 34:48
  was doing a deep dive. I ended up just watching this
• 34:50
  scene 4 times and then I went to bed.
• 34:53
  Just over and over. Yeah, it's so cool.
• 34:55
  It seems so cool. It's really Joe Wright just ate
• 34:58
  so hard of directing the scene because the way he just moves
• 35:02
  through the scene and all the dancers are, like, stopping and
• 35:05
  moving because they're the only two people just in the world.
• 35:08
  Just see if they're actively falling in love and the lighting
• 35:12
  is just like getting dark and brightening up and people are
• 35:15
  disappearing and reappearing. It's so cool.
• 35:19
  And her, she just looks in this dark colour against kitties,
• 35:25
  very bright white and pink again, like the dichotomy of it
• 35:29
  is just so cool. And he again is like looking
• 35:33
  like an Angel. And she's kind of looking like,
• 35:36
  I want to say devil, but looking a little dark, a little spooky.
• 35:41
  That's how Kitty sees her too. It's such a cool scene.
• 35:45
  Also, shout out to the hair department and Anna Karenino.
• 35:48
  I've this is probably my favorite hair movie.
• 35:51
  I haven't really talked about hair on Art of Costume podcast
• 35:54
  in six movies, but the hair department ate in this movie.
• 35:58
  They absolutely ate. It's absolutely ate.
• 36:02
  I don't know if it's wigs or not, but whatever it is, it's
• 36:05
  good. It's good the hats in this film.
• 36:08
  Yeah, male nerves too. You guys killed it.
• 36:11
  It's so good. Now I'm just thinking about
• 36:15
  hats. Anyway.
• 36:17
  Jacqueline Duran spoke to vanityfair.com about this look,
• 36:20
  saying the first thing we discussed was whether it should
• 36:23
  be in black or not. They ultimately chose that
• 36:27
  color. It's a very significant costume
• 36:30
  in the history of literature, so we thought that we should
• 36:34
  respect that. And also black kind of works in
• 36:39
  the playing out of the scene because we had already decided
• 36:44
  that the color of society would be a range of sour pastels.
• 36:50
  So I made 25 dancers dresses that are at the ball in 25
• 36:56
  shades of sour pastels. So that was already the backdrop
• 37:00
  for her dancing. To put Anna in that environment
• 37:03
  with those colors behind her, That just made sense that she
• 37:07
  would be in black. Yeah, it's just it helps her
• 37:10
  pop. I mean, everyone is just so
• 37:12
  colorful and bright. I don't know why she picked that
• 37:14
  dress in the 1st place, Anna Karenina showing up to this
• 37:17
  ball, but it I mean, it really helps her stand out against this
• 37:22
  society. Maybe she just feels like you
• 37:24
  said, like a little bored and a little like out of place.
• 37:28
  Yeah, and like, she's not used to Moscow society.
• 37:31
  It's made very clear that she's in Saints Petersburg with her
• 37:35
  husband in Saint Petersburg society.
• 37:38
  And she's known as being, like, a fashionable woman in Saint
• 37:42
  Petersburg. So I think she comes to this,
• 37:46
  you know, same country, but still a society she's not
• 37:49
  familiar with. And it puts her as like, kind of
• 37:52
  the black sheep of society in this moment.
• 37:55
  I like it. Thank you.
• 37:56
  That's a good one. Thank you.
• 37:58
  She also has a one this gorgeous Chanel diamond necklace.
• 38:06
  I want this. Yeah, that's a good one.
• 38:08
  I'm sure it's affordable. I could probably get you 1.
• 38:11
  Yeah, yeah, just cat casual. I want this for my birthday.
• 38:18
  Jacqueline talked about the necklace to close on film,
• 38:22
  saying from the temporary collection.
• 38:25
  I chose all the pieces that I thought avoided being modern and
• 38:30
  had more baroque or more period or more feminine look to them.
• 38:37
  So that chamomile necklace that is the standout piece that she
• 38:42
  wears to the ball with Veronski and to the opera is modern but
• 38:48
  very feminine to me, very kind of luxurious and exotic.
• 38:54
  Some of the other earrings I thought were really great for
• 38:57
  the period. The ones where they had the kind
• 39:01
  of filigree of diamonds with the Pearl at the bottom, I thought
• 39:07
  fitted really well into Anna Karenina, which that necklace,
• 39:12
  those earrings. Yeah, she, there's a lot of
• 39:15
  necklines in the Anna Karenina. It really like brings a lot of
• 39:19
  attention to her collarbone in her neck throughout.
• 39:22
  So Jacqueline Duran just really, really use jewelry to her
• 39:27
  advantage. And.
• 39:28
  Yeah, that or is that still her ball gown?
• 39:31
  I can't tell. Yeah.
• 39:32
  Yeah. It's it's such a good one.
• 39:36
  We're talking about like this contemporary chameleon necklace
• 39:39
  that's just absolutely beautiful, seeing it sparkle as
• 39:42
  she dances with Fransky. Yeah.
• 39:47
  It's so good, it's so good. I wish I was more of a jewelry
• 39:49
  person. I just, I'm not.
• 39:51
  But like honestly, over the past like season of this podcast, I'm
• 39:54
  starting to turn on between this and Frankenstein, I'm like, I
• 39:57
  don't know. I'm starting to come around on
• 39:59
  jewelry. I just, I never think of
• 40:01
  jewelry, but like recently I'm just.
• 40:04
  It's so important it. No, it's definitely important.
• 40:06
  I just never think about it. I just, I don't know.
• 40:09
  I just never, I mean, I never wear it.
• 40:11
  I just never a part of SO, but it's just, it's just something
• 40:17
  that I'm starting to like notice a lot more I guess.
• 40:19
  It's incredible. It's incredible.
• 40:21
  It's incredible in this film. Also this whole scene, like she
• 40:24
  was saying with the 25 shades of sour Pastels.
• 40:29
  And we get to meet also on the like the princesses in the
• 40:33
  scene, because there's just a million princesses in Russia
• 40:36
  apparently. It's such a cool scene and also,
• 40:43
  while it, you know, really does work for Anna's, a great
• 40:47
  background for Anna's black gown, it's an equally great
• 40:51
  background for Kitty's white gown.
• 40:53
  I love the whole look and how she used all of the color to her
• 40:58
  advantage. Especially when you think when
• 41:00
  she says she doesn't know what the sets are really going to be.
• 41:04
  So she's almost creating her own set for those two characters.
• 41:09
  This is, yeah, another one of those beautiful shots.
• 41:11
  This is when I start to understand what was going on
• 41:14
  because at first I was like, wow, they really spent a lot of
• 41:16
  time in this theater. And then I was like, oh, they're
• 41:19
  not. They're not like, actually in a
• 41:21
  theater. I was like, I was like, wow,
• 41:26
  these kids really have nowhere else to go, you know?
• 41:30
  No, they're just the whole thing is a theater.
• 41:33
  But I mean, Jacqueline Duran and her team really had to think
• 41:36
  about each of these princesses as individual characters though,
• 41:40
  which is not not an easy task. No, she also had to think of
• 41:45
  Jude Law. Jude Law, the very boring and
• 41:48
  unattractive husband Savannah Karunena, they.
• 41:51
  Really tried to make him unattractive.
• 41:54
  Yes, they. Tried.
• 41:56
  They didn't really succeed, but they tried.
• 41:59
  And then, like, there's the parts where he's like, lovingly
• 42:02
  looking over her, kind of like in bed.
• 42:04
  And we're all like, oh, look at him.
• 42:07
  He looks so dopey. And you're like, oh, look at him
• 42:09
  looking lovingly, you know? Yeah.
• 42:13
  He could be a little more active though.
• 42:17
  Yes, it's true. It's, I mean, I get it.
• 42:20
  I get it, it's one of those things where it's like he
• 42:22
  clearly cares about his wife, but I think he at least in this
• 42:28
  interpretation of Anna Karenina. I found out this weekend there
• 42:32
  are lots of different interpretations depending on
• 42:35
  your translation and how you read it.
• 42:38
  From what cultural perspective? There's a lot going on in Anna
• 42:44
  Karenina. And I've been wanting to read
• 42:45
  the book. I'll admit I've never read it.
• 42:47
  I I used to read a lot and then as soon as I graduated high
• 42:51
  school, for some reason, I just took books and I was like, well,
• 42:53
  I guess I don't need these anymore and I just toss them out
• 42:57
  the window. But Anna Karenina is definitely
• 42:59
  high on my list. But.
• 43:01
  It's on mine. As.
• 43:03
  Well, but getting back to Kernan, he he's just always
• 43:11
  dressed up in his like government official garb, like
• 43:17
  constantly. It's very boring.
• 43:21
  You know what it is? I think he's just, he's not as
• 43:23
  tailored as you would say like Vronsky is.
• 43:27
  Tom Vronsky has like stylized lines, you know, that's fitted.
• 43:30
  And his is very just kind of like, it's kind of like
• 43:33
  rectangular, you know, it's just on him.
• 43:35
  It's it's just there with a sash over it maybe.
• 43:39
  And yeah, it's just not as fitted.
• 43:42
  He still looks good, but it's just not fitted.
• 43:44
  And it's just kind of he blends in with the crowd.
• 43:47
  He wouldn't, he does. He won't be able to tell that
• 43:49
  he's kind of like maybe a few leagues above a lot of the
• 43:53
  people he's around absolutely at times which.
• 43:56
  I think is part of his whole persona because he's in
• 43:59
  government, everyone around him. I was talking about, oh, he's
• 44:03
  he's done so much for his country.
• 44:04
  You don't really get specifics. So who knows?
• 44:10
  But he's very interested in just keeping to societal norms,
• 44:15
  clearly. And I love that he gives Anna
• 44:19
  the benefit of the doubt for so long until he can't.
• 44:24
  He literally can't anymore. And with his little binoculars
• 44:30
  and his top hat. Yeah.
• 44:32
  Aw dude, you tried? She's crumbling the paper during
• 44:36
  the indoor house, the horse racing, and he's finally like it
• 44:39
  can't take it anymore. He tries to, he even tries to
• 44:44
  pull her out of that embarrassing situation and she
• 44:46
  just won't let him. Sorry Karenina, I mean you just
• 44:50
  you don't know what you have until it's gone.
• 44:52
  That's what this situation was since he fumble it.
• 44:55
  But I mean, but I don't know, maybe she fumbled a good one
• 44:59
  too. I haven't read the book but I
• 45:01
  don't know, it just seems like a bad situation.
• 45:03
  From from everything I've been taking in, I feel like the book
• 45:07
  is so drastically different. Another incredibly toxic
• 45:15
  character we have Princess Betsy, played by Ruth Wilson,
• 45:22
  who I just love her in this, honestly.
• 45:25
  And Jacqueline talked to a blog called It's a Danielle Life
• 45:29
  around the release of Anna Karenina, saying in the film she
• 45:33
  had really 50s stylized costumes which you can sometimes see in
• 45:39
  the neck more so than in Kira's. As in the interpretation she is
• 45:45
  the complete 1950s person whereas Anna in this film is the
• 45:53
  most stylish person as Betsy is kind of out there fashion
• 45:59
  forward and Anna is partly like that and partly restrained.
• 46:05
  When I saw Princess Betsy, I was like, oh, I didn't know, like
• 46:09
  Effie Trinket from The Hunger Games is in this film.
• 46:11
  I've. Literally thinking of the same
• 46:14
  thing, especially that like yellow green dress.
• 46:17
  She like. Wears by her bedside.
• 46:19
  I was like, I like looked up the actress real quick just because
• 46:23
  I was like, that's not that's not the same.
• 46:26
  That's not the same person, Rose.
• 46:28
  Everdeen like 100% she is out there She and she's a little bit
• 46:36
  of a gossip just when you see Princess Betsy, which honestly,
• 46:39
  when you have a name like Princess Betsy, there's trouble
• 46:43
  to follow she. Is the gossip.
• 46:45
  Yeah, so there's where where Princess Betsy is, there's
• 46:49
  trouble. But when you are trouble like
• 46:52
  that, you got to be fashion forward.
• 46:54
  And she got. To look.
• 46:56
  Good. And she does honestly, and I see
• 46:57
  the 1950s influence. I love like that mint green like
• 47:02
  fur that she has. That's a good one.
• 47:05
  So good. That feels very like kind of
• 47:09
  avant-garde 1950s, like on the cover of Vogue a little bit.
• 47:14
  I also love her almost like sailor white and blue look where
• 47:20
  it's very new look, it's very Dior and you're just like, are
• 47:24
  you about to like get on a sailboat and like go on some
• 47:28
  luxury crew, ma'am? Yeah, What's going on here,
• 47:31
  Betsy? Princess, I'm sorry.
• 47:34
  Princess Betsy, Yes, Yes. My lady.
• 47:37
  And she just contributes to the problem of Anna, Kurnina and
• 47:44
  Varansky in this illicit romance.
• 47:48
  Yeah. And we get the basically her her
• 47:53
  letter, her scarlet letter dress.
• 47:56
  She sure does. I mean, could you find a more
• 48:00
  scarlet red dress than this one? I don't think you.
• 48:03
  Can have we? We haven't talked about a red
• 48:05
  dress moment in a minute. We haven't.
• 48:07
  I guess we did in Frankenstein. We had a whole segment.
• 48:12
  It wasn't the same. This is a adultery red dress
• 48:15
  moment. Yes, adultery.
• 48:21
  We shouldn't get like a new Jingle.
• 48:23
  That's just adultery. Just.
• 48:25
  For toxic romance month adultery.
• 48:27
  Yeah, we talk about so much on this podcast.
• 48:32
  It's. Almost like it's a common common
• 48:36
  theme in our society. We love to talk about adultery
• 48:40
  and cheating. I was kind of rooting for Anna
• 48:42
  and Vronsky to get together until it happens.
• 48:44
  Suddenly, everyone's like, girl, everyone.
• 48:47
  Everyone wants the drama. Yeah, they want to they.
• 48:49
  Want to see the drama, They don't want to be part of the
• 48:51
  drama, but they want to see the drama and then they want to
• 48:53
  judge. And also at the same time
• 48:55
  everyone wishes they could hook up with.
• 48:57
  Vronsky. And they want to live through
• 48:59
  her until it happens. And I'm like, how dare you?
• 49:01
  Yeah, yeah. And.
• 49:04
  Jacqueline talked about this moment to close on film, saying
• 49:09
  you really, you can't really see it in the movie.
• 49:13
  But when she goes to the first opera and goes on to Princess
• 49:18
  Betsy's party, her headdress, you can't really see it in the
• 49:24
  movie. But when she goes to the first
• 49:26
  opera and goes on to Princess Betsy's party, her feather
• 49:31
  headdress that she's wearing is red feathers.
• 49:35
  But the feathers go at the front into the bird's head, which is a
• 49:41
  19th century hat trim. And in the bird's head, in the
• 49:46
  beak, there's a diamond. But all that is kind of lost.
• 49:51
  Milliner's are great source of those kinds of things and have
• 49:54
  long since disappeared. And I love that quote because
• 49:59
  you see this beautiful red gown and you don't even notice her
• 50:03
  headdress. But it's like the bird, the
• 50:07
  diamond in its mouth. It's like, you know, she's the
• 50:09
  prize and he's. The other prize?
• 50:14
  And she is going to be like that Raven going to get the shiny
• 50:20
  thing and get the prize. But she's got her red dress on.
• 50:27
  Everyone knows what's going on except even her husband.
• 50:31
  He's still trying to be like, no.
• 50:35
  At this point, she's on an obvious mission at this.
• 50:39
  Point and everyone kind of starting to know it and yeah,
• 50:45
  it's it's not looking good, but at least she's looking good
• 50:48
  while doing it. Yeah, like you can't falter at
• 50:50
  this point. You're like, well, at least
• 50:52
  she's pulling out all the stops. You know, she's not doing it
• 50:54
  sloppily like and she put on the adultery.
• 50:58
  Red. This is.
• 50:59
  Different. No one told her to put this on.
• 51:03
  No one told her to put it on. Because she wears exactly what
• 51:06
  she wants. That's why we saved Anacrina for
• 51:08
  Toxic. Relationship month.
• 51:10
  It's not like she was forced to put this on.
• 51:12
  This is before she's outed of society, I believe.
• 51:16
  Yeah, it's kind of like everyone's.
• 51:19
  We're on the verge, Yeah, Everyone's in the.
• 51:21
  Corner. She can see them whispering.
• 51:23
  Yeah, so This is why we're getting to the toxic.
• 51:25
  Parts this is yeah, looks good stuff, but she looks good again
• 51:30
  and look at all the the necklace coming off of her.
• 51:33
  I love the feather headdress and just look at all the layers of
• 51:36
  that red gown just billowing down onto her, kind of building
• 51:41
  a train around her. She looks good.
• 51:44
  Keira Knightley has never looked better.
• 51:47
  Man, we don't see Keira Knightley in enough films.
• 51:49
  Honestly, we don't. It's been a while, I can't
• 51:52
  think. Of anything.
• 51:53
  That's recent. Neither can I, I don't.
• 51:57
  Know Keira Knightley, come back to us.
• 51:59
  And talking about the. Kind of like the whispering
• 52:03
  going on, going on around her. It really comes to a head.
• 52:09
  And everyone officially knows at the horse race when Varansky
• 52:13
  falls off his horse. Yeah, and she's freaking out.
• 52:16
  She blows it. She does.
• 52:19
  Which I think is a little. Unfair because we just.
• 52:21
  Watched a person fall off a horse and hurt himself and then
• 52:25
  he has to someone has to shoot a horse so blood pressures are
• 52:29
  high, but she this would have been a moment to be like, girl,
• 52:32
  keep your head together, but she loses it she loses it she loses
• 52:36
  it, which is a little. Embarrassing and everyone.
• 52:38
  Looks at her. No one's even looking at
• 52:41
  Bronski. Is like screaming in pain.
• 52:43
  Yeah, yeah, screaming in pain, shooting his whore.
• 52:47
  And but this is I love. This moment 'cause I'm.
• 52:49
  Like she's with Princess Betsy and I feel like this is her most
• 52:55
  1950s look from the hat. And like the the coat, like
• 53:01
  bodice she's wearing the like this like huge straw collar.
• 53:07
  I'm like, this is the Betsy influence right here, and she
• 53:12
  tops it with this pink hat. Kind of still trying to play
• 53:15
  like this innocence game and like, I don't know, but still
• 53:19
  like very dark underneath. And she stands up, you know,
• 53:23
  yelling at Vronsky. If they're screaming, screaming
• 53:26
  with this pink hat on. It even that's her husband.
• 53:28
  Trying to be like girl, yeah, girl.
• 53:30
  You're not fooling anybody. The jig.
• 53:32
  Is up now, you know. Come on man, this.
• 53:39
  Leads us to one of my favorite. Costumes I I was gasping for air
• 53:44
  at this. I know.
• 53:46
  Because a lot. A lot has happened between the
• 53:51
  horse race and this moment. Anna has had a child with
• 53:55
  Veronski, who is living with her husband though, because her
• 54:00
  husband was like, I'll give you, I'll give the child my name.
• 54:05
  Like they don't have to grow up like as a bastard.
• 54:09
  Just like, you know, give up your lover, please.
• 54:13
  I'm not asking for much. I.
• 54:14
  Just need you to stop hanging. Off that handsome man.
• 54:17
  Yeah, yeah, And she's. Convinced she's going to die
• 54:21
  after giving birth so she makes everyone like make up and be
• 54:25
  friends. Pissed off that she doesn't die?
• 54:29
  Yes. Remember the moment where she
• 54:30
  makes them like Hold? Hands over her dying body.
• 54:35
  And she? Awkwardly lives and everyone's
• 54:37
  like well. Remember, she's literally
• 54:39
  screaming. I wasn't supposed.
• 54:41
  To win so Anna. Has gone through it.
• 54:46
  And ultimately decided to run away with Veronski but is pissed
• 54:52
  off when she can't come to her son's birthday party because a
• 54:58
  nosy neighbor interfered. I did not like her.
• 55:01
  She was a nosy neighbor who just wanted to punish everybody
• 55:09
  anyway. I'm.
• 55:10
  Trying to remember this. Neighbor's face by.
• 55:12
  She's in Dune. She's the one who's in Dune 00.
• 55:15
  My gosh, it's not Olivia. Williams.
• 55:17
  It's it's, it's the, it's the, It's Mother supreme.
• 55:22
  Yeah, that's who it was. He's also inhabitant.
• 55:25
  I'm forgetting her name right now.
• 55:26
  I'm sure everyone screaming it out, but yeah, she's like,
• 55:29
  you're not supposed to be here, you're done.
• 55:32
  Yeah, 'cause first she's like goes to.
• 55:35
  Her husband and it's like, why didn't you come to where I live
• 55:39
  for vacation? And he was like, my wife wanted
• 55:41
  a change of scenery. Like what?
• 55:44
  What is your problem? And she's like, well, do you
• 55:47
  know what's at your change of scenery?
• 55:49
  The army and he's like, but you can see the please go away, walk
• 55:56
  on his face. And then she ruins it again when
• 56:03
  she comes up and is like, what's Anna Karenina doing around here?
• 56:07
  And he's like, she's coming to his birthday party.
• 56:09
  Like she's his mother. And she's like, no, yeah,
• 56:14
  everyone, literally. Everyone knows about the story
• 56:18
  and everyone is like not having it.
• 56:21
  Yes, almost more so than the. Ex-husband.
• 56:24
  And it's like, so ironic that she's in this.
• 56:26
  Situation because she went to so save the marriage of her
• 56:30
  brother, right? Because his wife was ready to to
• 56:34
  drop his ass, right? But everyone forgave him.
• 56:40
  But it's the mustache. I'm telling you, it's the
• 56:42
  mustache. She is wearing this beautiful
• 56:45
  all black look, like she's in mourning for her own life.
• 56:49
  The veil with this. Like Pillbox?
• 56:53
  Hat with the veil, the veil. It's so good.
• 56:56
  I the. The veils in this film are just
• 56:59
  stunning, but this specific, like black lace veil with the
• 57:04
  black fur shawl, it's just so good because you would think
• 57:08
  she's at a funeral, but she's this is a Thursday for her.
• 57:11
  Yeah, this is how hard she's taking this affair that totally
• 57:16
  is 50% her fault. Yeah.
• 57:23
  And I'm just like, oh, you need a therapist and some good
• 57:27
  postpartum depression. Drugs.
• 57:29
  Oh man, it's so sad but. Also, you're like, this is yeah,
• 57:33
  it's I get it. This is me after like saying yes
• 57:37
  to like plans on a Sunday, you know, showing up in a black veil
• 57:41
  and you're like, I don't want to be here, but I already agree.
• 57:44
  But I'm here. I'm at.
• 57:45
  Silver Lake on a. Sunday, it took me 30 minutes to
• 57:48
  find parking. I'm going to let you know I
• 57:49
  don't want to be here. It is so good.
• 57:53
  And that veil? Had an unexpected role, as
• 57:57
  Jacqueline told Clothes on film, saying Joe and I thought the
• 58:02
  movie was an opportunity to use veils because there's something
• 58:06
  so magical and gorgeous about veiled faces.
• 58:10
  And we don't really get a chance to experiment with it very often
• 58:15
  because it's not something we use in our modern life much.
• 58:19
  The veil is an astounding one. She where she's sitting, having
• 58:25
  come back from visiting her son and missing him so much, and she
• 58:29
  sits in the apartment and she never lifts the veil.
• 58:33
  And she sits and she's crying in her room.
• 58:36
  And I thought that was just so extraordinarily beautiful.
• 58:41
  But I had no idea that Joe would play the scene with the veil
• 58:45
  down. So to an extent, you create the
• 58:49
  possibility of something happening, but you don't know
• 58:52
  exactly how it will play out. Yeah, I think it's a It was
• 58:56
  cool. To play with the veil down.
• 58:58
  Yeah, just it, it just really creates this beautiful shape.
• 59:02
  And you're right, we don't really get to see veils because
• 59:05
  like we've talked about so much and a lot of designers have
• 59:08
  talked about on this podcast with like producers afraid to
• 59:12
  use hats that cover actors faces because they're so beautiful.
• 59:16
  And we want to see an actor's face.
• 59:18
  And it's kind of the same with veils.
• 59:19
  We don't want to cover an actor's face to cover up their
• 59:21
  expressions, but it was so dramatic of Anna to sit in this
• 59:26
  room and cry off this veil that it just added to the story.
• 59:30
  So lights go down, you can see the hours fading.
• 59:33
  Away it was such a cool story point that leave.
• 59:36
  It on it's cool. We know it's Keira Knightley, we
• 59:39
  know it's she's beautiful and they're there.
• 59:40
  That's not the point. You know, it was cool.
• 59:42
  I loved it. Well, gosh, that's one of my
• 59:45
  favorite costumes. It's crazy good.
• 59:47
  It's so good and then it's contrasted.
• 59:50
  Against Kitty's bridal welcome to your new home get up which
• 59:59
  cause at this point she's been heartbroken.
• 1:00:03
  You know, Kitty's come to the realization that not all that
• 1:00:06
  sparkles is gold. Yeah, she kind of has like the
• 1:00:10
  opposite journey. Of Anacrinina, where she she
• 1:00:14
  starts at the top and she's, she really just wants what she
• 1:00:17
  wants. And then she's very like, I
• 1:00:19
  don't know, very vanity wise. And she kind of like, I don't
• 1:00:22
  want to say she like tampers her expectations down, but she kind
• 1:00:25
  of has to break down her own, I don't know, sense of judgement,
• 1:00:29
  I guess, and opens herself up and she ends up actually finding
• 1:00:34
  herself falling for 11 a little bit away.
• 1:00:38
  I don't know. Still to me in this film, I felt
• 1:00:40
  a little forced. I still don't feel like it was
• 1:00:42
  100%. But like you, it like she ends
• 1:00:46
  up in this like kind of white pure form at the end that feels
• 1:00:49
  actually more like just than to when we were talking about
• 1:00:53
  Bronski at the end where we felt like it was it was not real.
• 1:00:56
  It was like fraudulent. I think with her, it's her being
• 1:01:00
  like. Oh the thing I thought would
• 1:01:02
  make me happy just turned its back on me for someone else and
• 1:01:10
  she sees this whole like toxic love.
• 1:01:14
  Story play out and she's like. Oh, that would have been me want
• 1:01:19
  that. As soon as Cara.
• 1:01:21
  Delvine showed up in town. I would have been thrown out,
• 1:01:24
  yeah, I would have been so mad, which by the.
• 1:01:27
  Way what the fuck we'll. Get there.
• 1:01:32
  And the standout part of this look is.
• 1:01:35
  Her fur hat, fur muff and fur scarf.
• 1:01:40
  Lots of fur. Lots of fur.
• 1:01:43
  Lots of fur. And Jacqueline told clues on
• 1:01:46
  film it was all real fur. Unfortunately, we couldn't find
• 1:01:51
  substitutes that looked in any way as good as the fur that we
• 1:01:56
  needed for the collars. We tried where possible to use
• 1:02:01
  vintage fur. The costume houses have quite a
• 1:02:05
  lot of fur that they've accumulated over the years from
• 1:02:09
  different productions. But in a few cases that we
• 1:02:13
  couldn't find something, we would have to buy something from
• 1:02:16
  a furrier. I don't like fur myself,
• 1:02:20
  unfortunately. When you do 19th century Russia,
• 1:02:24
  you kind of have to, which I get.
• 1:02:26
  And I first read this quote and I was like, what are you talking
• 1:02:29
  about? We have great fur simulations.
• 1:02:33
  We have fantastic fur simulations.
• 1:02:36
  And then I remembered this film is 14 years old in 2012.
• 1:02:44
  We didn't have the good simulations we have now.
• 1:02:47
  We had decent fur simulations but it wasn't the same and I I
• 1:02:55
  think it's an interesting choice.
• 1:02:56
  I think they could have gotten away with only using vintage and
• 1:03:00
  substituting with synthetics, but you can't deny it's a huge
• 1:03:06
  part of the wardrobe. Totally.
• 1:03:08
  I mean like talking about 19th century.
• 1:03:10
  Russia of all places. Like yes 100% like fur some kind
• 1:03:16
  is going to be used. It's just essential to like the
• 1:03:19
  environment. That's just how the people too
• 1:03:21
  to stay like still I mean that's it.
• 1:03:24
  This is an environment that is probably not meant for humans in
• 1:03:29
  some places to live, you know, So it's going to happen.
• 1:03:32
  It is kind of like a bummer to read, but then I have to remind
• 1:03:34
  myself, I'm like, I wasn't even, I was still in high school when
• 1:03:37
  this film was being made, you know, So the technology we have
• 1:03:40
  now wasn't the same back then. So I'm going to give that
• 1:03:44
  benefit of the doubt for sure. But I'm glad to hear that at
• 1:03:48
  least one possible. They're trying to use vintage
• 1:03:50
  furs from costume houses, it really sounded like.
• 1:03:53
  They only did went to furry ears when like they could literally
• 1:03:56
  not find anything. Yeah, for sure.
• 1:03:59
  That leads us. On to.
• 1:04:02
  The mirror opera gown, the white version of the black gown we saw
• 1:04:10
  earlier in the film, and Jacqueline told vanityfair.com
• 1:04:14
  the black gown is mirrored in the opera dress where she is
• 1:04:18
  humiliated when she goes back to the opera and no one will speak
• 1:04:23
  to her. I didn't even realize that was
• 1:04:25
  mirrored. Yeah, I'm looking at now like,
• 1:04:28
  oh, that is the same old same dress as Justin white girl.
• 1:04:34
  She's. Crazy for that.
• 1:04:39
  She's so funny for that. And it's like.
• 1:04:41
  Let me she's like pure as to driven snow walking.
• 1:04:47
  In Honey and Sweetie. I mean, I, I really do feel for
• 1:04:52
  her. It's like it's nobody's
• 1:04:54
  business. Like whatever, Like she's just
• 1:04:57
  at the opera. But still, I was like, that is a
• 1:05:00
  bit audacious if you get to wear this, this gown trying to put
• 1:05:05
  out the message that she's trying to put out.
• 1:05:06
  I know, it's so crazy and like Varansi.
• 1:05:09
  'S trying to talk never and being like please just go visit
• 1:05:12
  her please go visit please. I love the one woman who's like
• 1:05:16
  she didn't I she didn't break the law.
• 1:05:18
  I'd visit her. She broken the law.
• 1:05:19
  She broke the rules which that's the whole reason she went to her
• 1:05:27
  sister-in-law to be like don't divorce your husband.
• 1:05:30
  Because even though her sister-in-law would have been in
• 1:05:33
  the right to divorce her husband, divorcing her husband
• 1:05:36
  was still breaking the rules of society and here she is doing
• 1:05:42
  exactly that. She knew the consequences of
• 1:05:45
  what she was doing, but she goes about her life anyway, trying to
• 1:05:51
  make the best of it. She thinks she's making the best
• 1:05:53
  of it and gets yelled at by Moaning Myrtle indirectly in the
• 1:05:59
  opera. They put that together that's so
• 1:06:04
  near. Of course it is because this.
• 1:06:07
  Cast. Is just ridiculous.
• 1:06:09
  Yeah. I mean, it's the same thing
• 1:06:10
  we're talking about, like in the Gilded Age show as well, too.
• 1:06:13
  It's like, oh, like divorce is just like the ultimate sin.
• 1:06:15
  It's not against the law. Sure, you could do it, but like,
• 1:06:18
  your life will be different for it.
• 1:06:20
  And it's breaking the rules, the unwritten rule.
• 1:06:23
  Yeah, and also technically. The Russian Orchothodox Church
• 1:06:28
  at this time operates like the Catholic Church, where if you're
• 1:06:32
  the divorcing party, you can't get married again legally,
• 1:06:37
  especially because there was not a separation of church and state
• 1:06:41
  in Russia at this time. So they're like, you're screwed.
• 1:06:47
  Either way. And then Carla Delevingne joins
• 1:06:50
  the show. So Vronsky and Anna.
• 1:06:53
  Karina are. What they're kind of like
• 1:06:56
  shacked up and like, I don't know, kind of looks like, I
• 1:06:58
  think it's his apartment. It looks like an apartment,
• 1:07:00
  obviously. It doesn't look all.
• 1:07:02
  Big and grand. That's like I was assuming.
• 1:07:04
  It doesn't look like they're living the life that I imagined
• 1:07:08
  for them. They don't seem super happy,
• 1:07:10
  obviously. And then all it takes is for
• 1:07:12
  Cara Delevingne to show up, which is.
• 1:07:15
  Which is hilarious, by the way, of all people.
• 1:07:19
  Yeah. Like, just instantly, like
• 1:07:22
  Vronsky's, like, he just switches immediately.
• 1:07:27
  I don't think he's pursuing her his.
• 1:07:29
  Mother is putting her in his path.
• 1:07:32
  I think he's pretty committed 'cause he does understand how
• 1:07:37
  much he fucked up, I think. But I love 'cause she's young.
• 1:07:44
  She, she's like Kitty at the beginning of the film and all of
• 1:07:48
  these, like, pastel colors, pastoral straw hats.
• 1:07:53
  Like, she looks like Little Bo Peep.
• 1:07:55
  Yeah, but he also sees like, now.
• 1:07:58
  He's out of crossroads where he knows that he he could improve
• 1:08:02
  his life or his life is going to be at a stalemate and as the
• 1:08:09
  like, as the man, he could just almost like reset and end up
• 1:08:14
  with this new character and just wash away everything that's
• 1:08:18
  happened over the past. I don't even know how many years
• 1:08:21
  this takes place, especially because Anna's husband is like
• 1:08:24
  not. Cooperating with the divorce,
• 1:08:26
  right? So he could just wipe his hands
• 1:08:28
  with this. And just totally move on.
• 1:08:30
  And that's that's just what this was.
• 1:08:33
  And it's like, like we've talked about with other shows, like The
• 1:08:36
  Gilded Age, like you could just, the man could just, you could
• 1:08:39
  divorce and he could just move on and do whatever he wants and
• 1:08:42
  you will be exiled out of society.
• 1:08:44
  And that's that. Yeah.
• 1:08:45
  All because you asked for a divorce.
• 1:08:47
  So that's what that's what's happening here.
• 1:08:50
  And it just sucks. And of course, like, she's the
• 1:08:52
  new young thing. And here we are.
• 1:08:54
  Here we are. And Anna doesn't take a while,
• 1:08:57
  No. She does not that.
• 1:08:59
  Really caught me off guard. I, I, it's caught me off guard
• 1:09:04
  the first time. Too 'cause she is supposed to be
• 1:09:09
  going to his like countryside home.
• 1:09:12
  She's in another scarlet gown with a beautiful veil and just
• 1:09:18
  walks in front of the train. Yep.
• 1:09:20
  So. So that really caught me off.
• 1:09:25
  Guard, I had kind of remembered in that moment.
• 1:09:28
  I remembered I was like, oh, I did remember that there is a
• 1:09:33
  story about Anacrinina getting hit by a train.
• 1:09:36
  Like it hit me in that moment. Well, for lack of a better word,
• 1:09:40
  it came back to me in that moment.
• 1:09:42
  I was like, oh, yeah, I did. I did know the ending of the
• 1:09:45
  story, you know, I just had never seen it before.
• 1:09:48
  And I was like, oh, yeah, well, that sucks.
• 1:09:53
  Yeah, and she's. Wearing another red ensemble,
• 1:09:58
  kind of like accepting, I feel like her role as a mistress to
• 1:10:05
  Voronsky. But clearly.
• 1:10:07
  Like, not happy about it anymore.
• 1:10:11
  Yeah, and. Oh.
• 1:10:14
  Man, yeah, I. Mean just about her final
• 1:10:17
  costume. It looks beautiful.
• 1:10:19
  It looks like there's like embroidered kind of like flowers
• 1:10:22
  on it. And she does have like a rose on
• 1:10:24
  her pillbox hat. It's a it's a great costume to
• 1:10:30
  go out in. It's very tragic.
• 1:10:34
  Though, Yeah. It's it's very, very sad.
• 1:10:38
  I can't wait to read the book though and just kind of like get
• 1:10:41
  into like the actual mindset of the author and like actually get
• 1:10:45
  into the mindset of this woman and the inspirations of it.
• 1:10:50
  Because I think that will give me better context.
• 1:10:52
  Because the way that this film plays it out, I don't want to
• 1:10:56
  say it has like a humorous feeling to it, but like with
• 1:10:59
  this like gorgeous cast of Keira Knightley and Aaron Taylor
• 1:11:02
  Johnson, it is the little like over the top a little bit.
• 1:11:05
  So like I've kind of there is a little bit of like humor to it
• 1:11:10
  in a way, just like you're like, this is just like silly, you
• 1:11:13
  know? So I would love to read the book
• 1:11:16
  and just actually like just kind of like simmer on it a little
• 1:11:19
  bit. That's why I'm laughing about
• 1:11:21
  it, right? It's one of the greats.
• 1:11:22
  It's one of the great novels. Of all.
• 1:11:25
  Time and. That.
• 1:11:28
  Is where we end. Anna Karenina.
• 1:11:30
  Wow, that was a good one. That was fun.
• 1:11:33
  I know that was. I'm glad it was a journey.
• 1:11:35
  Yeah. I, I always love when we do a
• 1:11:38
  Joe Wright film because I always know it's going to be a journey.
• 1:11:41
  It's going to be good costumes probably has something to do
• 1:11:44
  with Jacqueline Duran. And it's going to be dramatic
• 1:11:48
  and also full of yearning at the same time.
• 1:11:51
  Full of yearning. Yeah.
• 1:11:53
  And. He does great hand scenes.
• 1:11:56
  Have you noticed that? I noticed it in Anna current of
• 1:11:58
  the hand scene. Yes, a part of that yearning of
• 1:12:01
  like people barely touching hands because he has it in Pride
• 1:12:06
  and Prejudice. Well, let's take a break and
• 1:12:09
  we'll talk. About more Joe Wright hand
• 1:12:11
  holding, I have some bonus information after this break.
• 1:12:14
  Oh, fine, all right. Spencer yes.
• 1:12:22
  Do you remember the? Anna Kernan, a banana.
• 1:12:24
  Republic. Crossover collection I did.
• 1:12:30
  Definitely do not. Neither did I.
• 1:12:34
  No way. I had no idea about it.
• 1:12:38
  Even. Though I loved Banana Republic
• 1:12:40
  at this time in my life and. I only found.
• 1:12:45
  Out in her interview with Fashionista, she was asked about
• 1:12:49
  it and Jacqueline said I didn't design the pieces.
• 1:12:55
  I came home quite late and how it worked was that Simon had
• 1:13:00
  already designed the holiday collection and my role was to
• 1:13:03
  take the holiday collection and combine them to make a style
• 1:13:08
  inspired by Anna Karenina. So from his collection I chose
• 1:13:13
  pieces. Mine was more of a curating role
• 1:13:17
  than a designing role. With Weird I have featured the
• 1:13:21
  two best. Anna Karenina.
• 1:13:24
  Inspired looks here, right? If you look at the whole
• 1:13:27
  collection, it's like OK. Where?
• 1:13:32
  Is the Anna. Karenina.
• 1:13:36
  I like in the black one I see like the IT looks.
• 1:13:38
  Like a furry hat, like maybe I would wear it to like the Alps
• 1:13:43
  of US skiing or if I was like like capelet thing going on.
• 1:13:47
  It's kind of costume. Me.
• 1:13:48
  Honestly, yeah. Yeah, it's really interesting.
• 1:13:52
  I can't imagine anyone I'll see. It's kind of a bummer honestly,
• 1:13:56
  because what I'm hearing from this is like they did this
• 1:13:58
  without Jacqueline Duran and then they like brought her on
• 1:14:02
  late and then she got to like pick of all these looks what she
• 1:14:05
  thought were like closely aligned with Anacrin in a
• 1:14:08
  hopefully she got paid for that curation aspect, but I was
• 1:14:12
  hoping the same thing and couldn't find any information.
• 1:14:15
  On that, to me it sounds like they just used her name to throw
• 1:14:18
  a bunch. Of Anacrin in a garbage and then
• 1:14:20
  just attached a costume designer's name, probably made a
• 1:14:22
  shit ton of money on Anacrin in their costumes.
• 1:14:25
  And she probably got maybe a tiny fraction of all that.
• 1:14:29
  Which is the reason why we have this podcast is to give credit
• 1:14:32
  to our credit student, which is actually the reason, you know,
• 1:14:36
  Jacqueline Duran and her team did the great costumes of Anna
• 1:14:39
  Karenina and maybe not those weird dresses in the Banana
• 1:14:43
  Republic collection that made somebody some money somewhere,
• 1:14:47
  yes. But now that we've heard that.
• 1:14:52
  Side Story, yes. Thank you for that.
• 1:14:57
  Are you ready to give Anna? Kernan a Stitch.
• 1:14:59
  Rating Spencer. Yeah, I am.
• 1:15:00
  I actually think I may. I might.
• 1:15:02
  Be a little bit higher on it now after talking about it and kind
• 1:15:07
  of doing like a rewatch. I feel like the first time I was
• 1:15:10
  maybe out of three. I don't know.
• 1:15:13
  I think I'm at like a four now, OK, like a 3 1/2 I.
• 1:15:19
  Think I'm at a three. And a half two.
• 1:15:21
  Because it's a gorgeous film. Gorgeous.
• 1:15:25
  It's well thought. Out.
• 1:15:27
  But we discussed this after you watch this.
• 1:15:30
  I told you like, oh, I had to watch this film, like, twice to,
• 1:15:34
  like, really understand what was going on.
• 1:15:36
  Yeah. And so I don't think it lends
• 1:15:40
  well to an audience that hasn't read the book.
• 1:15:42
  Yeah. Because I know I'm missing so
• 1:15:44
  much information. Totally.
• 1:15:46
  I think there's just some scenes.
• 1:15:48
  Where? Well, yeah, I mean, at first the
• 1:15:49
  theater thing could be a little, like, jarring, but I also think
• 1:15:53
  it's so gorgeous and artistic at the same time.
• 1:15:56
  But to me, it's really the scenes that don't include Anna
• 1:16:00
  and Bronski that are, well, I mean, I guess Anna and some of
• 1:16:03
  them. But like, the scenes of, like,
• 1:16:04
  all the princesses and like, the courtrooms, they're just like,
• 1:16:07
  gossipy. And also like the scenes of,
• 1:16:10
  like, Kitty and Lenin, they're just like, I don't know why
• 1:16:14
  there's the Side Story, but I know it has to do with the
• 1:16:16
  books. I got to see it.
• 1:16:18
  I don't know, it just felt like a lot of like side questy stuff
• 1:16:22
  that kind of makes the film drag in like the second-half.
• 1:16:25
  The first half to me of this film feels solid, solid.
• 1:16:28
  But the second-half. Feels.
• 1:16:30
  A little draggy in some parts, but I still feel like a 3.5.
• 1:16:34
  There's a reason why Jacqueline Duran was like the Oscar winner
• 1:16:37
  of this film. Costumes.
• 1:16:39
  Flawless costumes are costumes are a solid 5 out of five.
• 1:16:42
  Yeah. Yeah, yeah.
• 1:16:43
  That's that's no joke. Production design great and I do
• 1:16:47
  think all the performances are great, like Hiro Knightley is
• 1:16:49
  great in this film and I like I said that dance scene is 10 out
• 1:16:54
  of 10 like I so it's a great film.
• 1:16:56
  I think originally I was probably like out of three, but
• 1:16:59
  I kind of bumped it up a little bit.
• 1:17:00
  So I rated play our favorite game.
• 1:17:03
  You know it's Spencer. Hit it.
• 1:17:07
  The one. Costume.
• 1:17:08
  To rule. Them all.
• 1:17:14
  Do you know your one costume? Rule them all, Elizabeth.
• 1:17:16
  I do know my one costume to rule them all.
• 1:17:18
  Spencer, what is it? It is Anna's red ball gown.
• 1:17:27
  Adultery. Adultery red.
• 1:17:32
  Her adultery red. Ball.
• 1:17:34
  Gown with dripping in pearls. She is dripping and pearls.
• 1:17:40
  I loved the quotes about her headdress and it's just such a
• 1:17:47
  staple of this film. I actually before re watching it
• 1:17:51
  I actually thought this red dress was what she wore to the
• 1:17:56
  ball where she dances with Ronsky.
• 1:17:59
  I I had kind of forgotten about the black dress and I thought it
• 1:18:03
  was this red dress in those first scenes.
• 1:18:08
  Yeah, it's a good one. And it.
• 1:18:09
  It just, it says so much and it's just, it's getting ready to
• 1:18:13
  set the stage for what's gonna be the rest of your life that
• 1:18:16
  leads to her ultimate demise. Nah, it's it's a it's a show
• 1:18:21
  stopper. And it just I, it's so bold of
• 1:18:24
  her to do. I don't know that it's that it's
• 1:18:28
  purposeful on Anna Karenina's. She's just trying to look good,
• 1:18:33
  but it's definitely Jacqueline. Duran getting.
• 1:18:35
  Ready to you know, this is a stage play at the end of the day
• 1:18:39
  from Jacqueline Duran's point of view, which is why we saw the
• 1:18:42
  Peacock fellers early on. And she's hinting to the
• 1:18:45
  audience that this, this engines revving up, you know, so my one
• 1:18:51
  costume rule them all, I'm actually going to change it.
• 1:18:54
  Yeah, I was going to do. The black.
• 1:18:57
  Dress that she wears to the to the first dance of Ronski that
• 1:19:01
  like gothy bell tricks the strange dress.
• 1:19:05
  But I have to wear I have to change it to the black veiled
• 1:19:09
  outfit she wears to the birthday party when she just cries when
• 1:19:13
  she wants to see her son because it's so melodramatic.
• 1:19:17
  It's so over the top. She wears that veil.
• 1:19:20
  She never lifts it up and it just I love that Joe Wright was
• 1:19:24
  like, no, keep that shit on. It's good.
• 1:19:28
  You know, it's just so so sullen, so dark, so emotional,
• 1:19:33
  so melodramatic. And it really was such a good
• 1:19:36
  film for veils. I love a veil, which is why I
• 1:19:39
  love funeral scenes and films so much because it's the only time
• 1:19:42
  we ever get to see veils and they're one of my favorite
• 1:19:45
  pieces, like accessories and costumes.
• 1:19:48
  So it's it's one of my favorite moments.
• 1:19:51
  It's one of Anna Karenina's least favorite moments in her
• 1:19:55
  life. It's probably one of the moments
• 1:19:57
  that puts her over the edge, actually, but it's one of my
• 1:20:01
  favorite moments. So sorry.
• 1:20:03
  Good choice. Good choice.
• 1:20:05
  Sorry. That brings us to the end of
• 1:20:09
  Anna Karenina. What a great episode.
• 1:20:13
  If you want to tell us what your one costume rule Them All is,
• 1:20:16
  please e-mail us at theartofcostume@gmail.com.
• 1:20:19
  You could always message us at the on Instagram at the Art of
• 1:20:23
  Costume Pod or on Tiktok at The Art of Costume.
• 1:20:26
  I personally check all of our messages and comments, so I will
• 1:20:31
  include them in our on our show Elizabeth.
• 1:20:38
  I'm excited for our next episode of Toxic Relationship Month
• 1:20:41
  because the director of this next film was actually in, I
• 1:20:46
  know was in Anna Karenina because the cast was so stacked.
• 1:20:51
  She plays Princess Merkilova, yes.
• 1:20:55
  Emerald Fennell, yes. Everybody brace yourselves.
• 1:21:02
  This is a. Doosie, we are watching quote
• 1:21:05
  withering. Heights and quote one of my
• 1:21:09
  least favorite Bronte sister novels of all time.
• 1:21:14
  Look, I've seen the Internet. Discourse It seems like the
• 1:21:19
  costumer community. It seems like none of you are
• 1:21:21
  excited for this film. I.
• 1:21:25
  I. Personally.
• 1:21:27
  Do not like the story of Wuthering Heights.
• 1:21:29
  That is my problem, she might improve it.
• 1:21:32
  The costumes. Might improve it.
• 1:21:34
  And it's Jacqueline Duran again. I know, yeah.
• 1:21:37
  So our girl might actually make something interesting.
• 1:21:40
  Out of this hot trash toxic relationship, this is what I'm
• 1:21:45
  going to say. I mean.
• 1:21:47
  These are things I know to be true.
• 1:21:49
  After. Doing this podcast, Jacob Olordy
• 1:21:52
  never misses. Margot Robbie never misses,
• 1:21:56
  Charli XCX never misses, Emerald Fennell never misses and
• 1:21:59
  Jacqueline Duran never misses. So I just feel like we got to
• 1:22:03
  give this a chance. I'm giving it a chance.
• 1:22:05
  Am I not giving it a chance? No.
• 1:22:07
  You. Are you are but?
• 1:22:09
  These costumes. Are going to be wild.
• 1:22:11
  I have a feeling not historically accurate, which I
• 1:22:15
  know which I know. Really chats of evil.
• 1:22:19
  I love how you're like, Probably not You're not.
• 1:22:24
  That's OK. We know that going is.
• 1:22:27
  I know it's. Really going to?
• 1:22:28
  Bark up the wrong trees. Don't bring that here, please.
• 1:22:32
  Yeah. But I really think it's.
• 1:22:35
  Our duty as you know as the costume nerd police over here on
• 1:22:42
  the art of costume podcast, it's our duty to go into this film
• 1:22:45
  and figure out what's going on here you know I know I do agree
• 1:22:49
  with you so and it's. Toxic relationship month It
• 1:22:52
  just. Seems like yeah, you said it and
• 1:22:55
  I was like that. Fits, yeah.
• 1:22:58
  That fits the theme it. Just it just seems.
• 1:23:00
  Like and it's and it's coming. Out on Valentine's Day, I
• 1:23:03
  believe, or the day before my birthday.
• 1:23:06
  So it we're going in. So let us know what you think of
• 1:23:11
  it, if you've seen it already or if or if you're scared.
• 1:23:16
  Yeah. Why?
• 1:23:18
  You are not going to see. It I don't know.
• 1:23:21
  I don't know the only thing I don't want to hear.
• 1:23:23
  Is any complaints about it not being historically accurate?
• 1:23:27
  We all know that already. We all know.
• 1:23:29
  We all saw that giant strawberry.
• 1:23:31
  We've all seen her iridescent fabrics.
• 1:23:34
  Charli XCX is doing the soundtrack OK.
• 1:23:37
  It's it's not just. Accept that if you like
• 1:23:40
  withering heights, just go see this wonderful director's
• 1:23:44
  interpretation of it, which is why it has the quotes on it.
• 1:23:48
  My thing is, when has Jacqueline Duran?
• 1:23:50
  Ever LED us astray, you know. Never.
• 1:23:53
  Never. Margot Robbie's.
• 1:23:55
  Never. LED us astray.
• 1:23:56
  Jacqueline Duran did the Batman that's.
• 1:23:58
  True, and she killed it. It's one of my favorite Batmans
• 1:24:02
  like suits of all time. I know, but I'm.
• 1:24:05
  Just saying if you want to complain about them, not.
• 1:24:07
  Being historically accurate, this is not the film, this is
• 1:24:10
  not going to be the place. This isn't the historical.
• 1:24:13
  Costume podcast? No, it's not Anyways.
• 1:24:17
  Please leave. Us a five star text.
• 1:24:18
  Review in Apple podcast if you had a good laugh today.
• 1:24:22
  And don't forget to listen to the Costume House of Spencer
• 1:24:24
  Williams. We are putting some great
• 1:24:27
  podcasts out with some fun costume designers.
• 1:24:30
  We have some more coming up. I have some coming up with some
• 1:24:35
  big time costume designers that we've been wanting to have on
• 1:24:37
  the podcast now that I'm going to tell Elizabeth about in a
• 1:24:40
  minute. So until then, go see Weathering
• 1:24:44
  Heights and Theaters as soon as it comes out.
• 1:24:45
  It's going to be a quick turn around.
• 1:24:47
  Don't be surprised if this episode comes out a day or two
• 1:24:50
  late, but it's going to happen. It is.
• 1:24:54
  It's going to happen, everybody. We will see you in two weeks for
• 1:24:58
  Weathering Heights. Do not commit.
• 1:25:01
  Adultery. Good PSA.