第一篇：安娜卡列尼娜影評(píng)

Different Criterions of Love

—simple analysis of Anna Karenina

Abstract：Anna Karenina’s love is stirring and tragic.Levin’s love is seemingly happy but insipid.Love is different when criterions are different.Why Anna’ fate is tragic and how to get true love are also analyzed in this paper.Mutual respect and consideration are the basics of love and never lose ourselves in love.Key words: noble, tragic, love, free, happiness, respect

The late 19th century of Russia, not long after the reform of serfdom in 1861, was a time of coexisting of both relic force and neonatal capitalism.It was such a particular time and situation that it tended to provoke the reflective thoughts of some great men of their day.They began to think the position of class and revolution, the fate of aristocrat and civilian, the meaning of family and marriage, the value of life and death, the belief of religion and other social problems.Tolstoy was just one of them.His Anna Karenina was based on these two main plots, the story of Anna and the story of Levin, to illustrate his view of the society.Levin, to a large extent, mimics and represents the author himself, who is a noble but loves pastoral nature and tends to live a simple country side life, and whose story reaffirms the writer’s view of life.Anna, a fairly beautiful, dignified and elegant, purity, honest and kind-hearted noble woman, whose inner world is full of romance and enthusiasm, lives an apparently happy and people envious life but finally ends up her life in a tragic way.The film begins with an unhappy family.Anna’s brother Stiva has been caught cheating on his wife, Dolly.And Anna is invited to persuade Dolly to forgive Stiva.Anna herself is married to the high-ranking, upper class Karenin, and has a lovely eight-year old son, whose marriage seems stable and united from the start.But she never knows that her coming of this time will completely change her whole life.Upon arrival at the railway station, she meets the handsome and energetic Count Vronsky, who falls in love with Anna at first sight.No matter how she tries to escape his stares, to avoid meeting him, she can never get rid of him for his love is so crazy.Finally, she can no longer control herself and resist his flooded love.Then, they become intimate, and their affair is quickly spread in the up class.What triggers the conflict between Vronsky and Karenin is Anna’s pregnant, and it is this event that let Anna make a determination to divorce Karenin and desert her beloved son.But things never go that easily.Karenin values his social pride and honor so much that he will never agree to divorce for fear that this may have a bad influence on his career.He just pretends that nothing has happened.Yet Anna cannot let go of Vronsky—she continues to see him quite often.Later, Karenin discovers how serious the affair is and then he considers divorcing Anna.It is just what Anna has long expected, so at the same time Anna and Vronsky become even closer.After having Vronsky’s baby, Anna becomes seriously ill.Anna thinks herself is going to die, and she asks Karenin to forgive her completely.At the same time, Vronsky is at her side.Though Karenin decides to revenge Anna and Vronsky at first, upon seeing Anna, he forgives her for everything she did and does not criticize Vronsky either.Vronsky seems to be humiliated by what he did and by Karenin, so he tries to commit suicide by shooting himself.But he finally gives up for he still loves Anna so much.Yet Anna recovers and forgets what she said to Karenin, once again come into Vronsky’s arms and run away with the count to Italy.Their elopement really infuriates Karenin, and he is resolute in refusal of divorce.In Italy, Anna and Vronsky indeed have a transitory happiness.But contradiction appears soon after, because Vronsky is an aggressive man after all, just like he himself says “I can do nothing here.I need a purpose”.So they come back to Russia.Here, Anna’s life becomes terrible.She is refused to see her own son, Seriozha.Her friends abandon her, ashamed of her behavior.She cannot go out in public with Vronsky, to the theater or the opera, because they would be subjecting themselves to the rumor mill.As a gentleman and a count of up class, Vronsky is unable to do without social intercourse essentially.And the key point is that he is free to go anywhere he likes and he is free to do anything.Naturally, the time he accompanies Anna becomes less and less.So Anna becomes horribly insecure, thinking that Vronsky goes out so much because he is in love with someone else.Actually, Vronsky has never changed his love towards Anna, but they just fight often because the unspoken tension that exists between them.Anna is tortured so much mentally.When she quarrels with Vronsky, she says desperately “why can’t I go out? I love you and nothing else matters to me”.Though he still loves her, she becomes doubtful.She isn’t Vronsky’s wife, but she is more than just his mistress.She depends entirely on him for internal peace and love.But what she finally realizes is that no one has the power to satisfy her emotional desires, not Vronsky nor anyone else.She was woven a complex web for herself, one she feels she can only escape by killing herself.That is what she does, jumping in front of a train.The development of Anna’s story is promoted mainly by five conflicts.These fives conflicts push the plot to another and yet another climax step by step, from which we can see how Anna put herself to a tough situation that can never be changed.The first conflict between Anna and Karenin took place when Anna went home one deep night after dating with Vronsky.She didn’t know that what is waiting for her is her husband Karenin’s warning.At that time, he only heard some rumors about her wife’s love affairs and she didn’t go that far.As a husband, he has the right to point out this and express his dignity and disaffection.However, Anna just denies it and ignores.And she also takes this chance to express her resentment, “You are always like that.You don’t like me to be dull, and then you don’t like it when I go out and enjoy myself.Stop it, you know I cannot stand it and I would like to know what all this is about”, which has lasted for long time.She pretends that she doesn’t know what has happened and just walks through Karenin that she is desperately sleepy, which let Karenin down.Though Anna’s thoughtlessness behavior and indiscretion cause herself to be talked about in society and begin to attract attention and it may disgraces Karenin’s reputation, Karenin still keeps his genteel and cultivation by saying “Anna, for God’s sake, don’t speak like that, perhaps I am mistaken.But believe me, what I say as much for my sake as for yours.I am your husband, and l love you.”

As time goes by and the love between Anna and Vronsky becomes increasingly intense, they are at the threads of their social lives when Anna becomes pregnant.She must, obviously, tell Karenin the news, thus initiating the second conflict between Anna and Karenin.Once Anna and Karenin seeing a horse racing together, Anna is unable to hide the despair when she sees one of the riders, Vronsky, fall.Once again, Karenin feels he has the duty to oblige Anna.However, he receives the unexpected answer that Anna just confesses to him everything about the love with Vronsky.It really exacerbates Karenin.Not any husband can tolerate such thing, neither does Karenin.He decides to divorce Anna and takes their son, Seriozha, away as a punishment for her adultery.From then on, their relationship is cut up completely until Anna is dying.The next three conflicts are all occurred between Anna and Vronsky when they live together.Once people get what they want, they will become empty and contradictions present.Anna is just the case.Carrying a bad name, Anna cannot go out in public with Vronsky, to the theater or the opera, which I have mentioned above.What makes Anna angry is Vronsky’s frequent going out, which is a signal of not loving anymore in her eye.She becomes unbelieving and complaining and she always fights with Vronsky for something trifling, which makes Vronsky tired.Vronsky’s love for Anna is not as hot as before.Among these three fights, the second time is the sharpest one.Here’s the thing.Vronsky went back home seeing Anna packing luggage one day.Anna told him that she wanted to live in the country.Actually, it is a good sign for a woman who has constrained and depressed so long.No one can imagine how terrible the life was and how much mental torment she suffered the days just passed.She just cooped up in those rooms all day long and day by day, and conceived her only mental support, Vronsky, spending nights with other pretty young women.It is not easy for such a woman to make up her mind to change.“You know it came over me like an absolute inspiration.Why should we go on waiting here for the divorce? I’ve made up my mind that it shan’t influence my life anymore.” From her words, we can see the desire she wants to change, and that she can’t wait even another minute.So, if someone doesn’t do as what she wishes this moment, she will be hysterical and hopeless.And Vronsky just did such thing.He was also delight to see Anna’s change, and planned to go with her after getting things in order.But Anna saw this as a purpose to delay their departure and an excuse to stay.She associated Vronsky’s words and behavior with his changing of love for her.She was stubborn to think that he cares nothing for her.She depends entirely on him for internal peace and love.But what she finally realizes is that no one has the power to satisfy her emotional desires, not Vronsky nor anyone else.Her spiritual pillar begins to collapse.Just like she says” what I want is that you should not desert me as you are thinking of doing.No, I don’t want that.What I want is your love.But it has gone, so it is all over”.Upon this, Vronsky feels it unreasonable.What he meant was just put off their departure for a matter of 3 day while Anna accused him of lying and being dishonorable.He said that there is a limit to his endurance.It is the very fight that makes Anna have an idea to die.“Why didn’t I die?” she said to herself after fighting with Vronsky.Happy families are all alike;every unhappy family is unhappy in its own way.Running side by side with Anna’s story is Levin’s, which can be said a happy one, though at first was not that happy.Levin’s story, I’ve mentioned earlier, is one that mimics the life and interests of the novelist himself.Levin, a landowner and country man comes to the city to propose to Kitty, a pretty young lady who is indulged in instead by Vronsky.She rejects Levin’s proposal and keeps her eye on the count Vronsky, however, is smitten with Anna.Levin is crushed.He goes home to the country and immerses himself totally in his relationship with the land.He writes a book about farming practices in Russia, revealing his belief that landowners should split the land with their peasants so the peasants have an incentive to work harder.This is a controversial plan as Russia becomes more industrialized.Kitty, too, is crushed by Vronsky’s disinterest.She becomes ill, and her family takes her to a spa in Germany, where she recovers and realizes that she has truly loved Levin all along.They meet again shortly, and Kitty accepts Levin’s second proposal.They marry happily and have a boy named Mitya.Kitty is a huge force in Levin’s life, helping him to come to grips with his lifelong struggle with faith and religion.She also helps Levin cope with the death of his brother Nicholas.In Tolstoy’s eyes, the two have the ideal marriage and love.Though Anna and Levin’s plot lines connect at times, Tolstoy dares only the briefest encounter between the two, near the end of the book.Levin is temporarily swept into Anna’s world, proving to Tolstoy how dangerous a character like Anna is to Levin’s world.As Anna and Levin’s stories are contrasted, Tolstoy makes a thematic case, though Levin, for pre-industrial societies as the major source of happiness, wealth and sustenance.He advocates the idea of caring for the land as if it was the wealth of the world, and he labels the land as the only mutual association which can bind societies and families together.Tolstoy shows us the valuable role of rural society in preserving the family.Through Anna, Tolstoy associates city life with vice.That Anna is a creature of the social, urban world makes her character revolve less around virtue, and more around romance sex, and societal affirmation.So, what on earth contributes to Anna’s tragedy? Identifying the reasons for a social phenomenon which involves several complicated factors is far from an easy task.But achieving some is still within possible.Among all the reasons, I should put first the evil value, religion doctrine and moral law of up class which maintains the aristocracy.Actually, there were many noblewomen having affairs with other men and they were proud of this.They won’t be criticized and punished as long as they don’t make it public and their husbands’ name is not disgraced.However, Anna is above the noble society and she is not willing to be a mistress.She is faithful to her own heart and pure torrid love.She is brave enough to make it public and defy the inveracious noble society.But how could she, a petit woman, fight against the predominant aristocracy.She has no choice but to be expelled out of the circle.Then, Karenin is also responsible for her death.He is 20 years older than Anna, and his only interest is his position and honor.Have been living in officialdom for so long, he becomes indifferent and vapidness.Living with such a dull man for 8 years, Anna becomes lonely and eager to be free.So when she meets the dashing count Vronsky, she can no longer resist the temptation.Comparing two of them, Anna chose Vronsky stoutly.Though she hesitated at first and ever tried to maintain the harmonious family, she was smitten by the unprecedented happiness completely.And for such happiness, Anna abandoned everything, reputation, position, wealth and beloved son.What she did was unforgivable in the noble’s eye and she had no chance to turn her head back.And then, Anna herself is liable for her own tragedy.First, her class origin determines her fate.She was born noble, but what she chases is individual liberation of bourgeois.Though her pursuing of happiness is human nature, her cost is so high.She didn’t think about it that her chasing of pure love would hurt her husband at the same time, which would lead to her husband’s revenge.And having a son and setting a foothold on the up class is the mainstay of her existence.But she just ignored all of this and her levity brought her heavy price.Second, her value of love is illiberal.She set her all happiness upon Vronsky, so once she lost his love, she lost everything including herself.This can be illustrated by Byron, “Love is just a part of life of a man, but all the life of a woman.” She loves him so much that she fears to lose him one day.And she becomes complaining and skeptical, thus losing Vronsky’s love finally.From Anna’s and Levin’s story, what can we learn? There is Levin’s monologue at the beginning of the film “The fear of dying without ever knowing love was greater than the fear of death itself”.To someone, it is yes.But what should we keep in mind when we handle our love things? Anna’s spirit, her sacrifice of everything for love, her listening to her own heart, should be admired, because it is a flame of humanity, but when facing reality we have to consider more.After all, we are live in a society, and it is not a Utopia.When we chase our rights and happiness, we should make sure that others’ legal rights are not harmed, especially those who love us so much.Only caring about ourselves and don’t even think about the feelings of the people around us is not only an action of selfish, but also a behavior of immaturity.Mutual respect and consideration are the basics of love.Levin’s story has proved this point.Though he has a plain face, maybe ugly, and 16 years older than Kitty, he gets her true love in the end.Another important doctrine should be born in our mind is that love is just a part of our life.If we have it, we thank God.If not, we are still ourselves and we still can make our life prosperous.Anna, to some extent, gets what she wants, living with Vronsky, but she is over caring about him.She can’t live without his love.She fears too much, and doesn’t know how to handle.She just complains and gets angry, thus leading to Vronsky’s loathing.So, believe in love but never lose ourselves in it and never complain, our life will be bright.References: 1.期刊論文 張會(huì)艷 簡(jiǎn)析安娜?.卡列寧娜的悲劇根源—理論界 2008，””(5)2.杜宗義 俄國(guó)資本主義發(fā)展時(shí)期的社會(huì)活動(dòng)的生活畫卷 1979 3.期刊論文 盧麗萍 悲劇的藝術(shù)—論《德伯家的苔絲》中的悲劇及藝術(shù)根源—安徽文學(xué)（下半月）2009，””(4)4.期刊論文 荊煜君 安娜?卡列尼娜悲劇成因分析—文學(xué)教育（上）2009，””(3)5.期刊論文 鄭舒婷 關(guān)于《安娜?卡列尼娜》愛(ài)情描寫的現(xiàn)代思考

2006，””(4)6.期刊論文 孫少佩 淺析《安娜?卡列尼娜》中安娜的愛(ài)情悲劇—時(shí)代文學(xué)（雙月上半月

2010，””(2)7.[俄] 列夫?托爾斯泰 安娜?卡列尼娜[M] 楊楠.北京燕山出版社.2002年8月第一版 8.劉艷萍 從俄朝明族文化心理和春香愛(ài)情追求之差異[J].外國(guó)文學(xué)研究.1996年第四期 9．.期刊論文 劉小莉 淺談安娜?卡列寧娜的愛(ài)情-安徽文學(xué)(下半月)2009第十期 10．期刊論文 冷和平論安娜?卡列寧娜的悲劇心里-江南社會(huì)學(xué)院學(xué)報(bào) 2006年4期 11．期刊論文 劉晴 《安娜? 卡列寧娜》中的死亡意識(shí)

12．期刊論文 管雨紅 淺析《安娜?卡列寧娜中安娜病態(tài)行為的主觀原因》-華章2010年11期

13．期刊論文 王華鋒 幸福的標(biāo)尺—淺析《安娜?卡列寧娜》-現(xiàn)代語(yǔ)文（文學(xué)研究）2009年第12期 14．《外國(guó)文學(xué)名著導(dǎo)讀》武漢大學(xué)出版社2005 15．《世界文學(xué)名著欣賞》杭州—浙江大學(xué)出版社2005 16．.http:// 19．http://

第二篇：安娜卡列尼娜影評(píng)

《安娜卡列尼娜》影評(píng)

年少時(shí)我沒(méi)有拜讀過(guò)托爾斯泰先生的《安娜卡列尼娜》原著，但是大概知道是怎樣的故事，那是那個(gè)年紀(jì)的我不敢觸及的。這次看電影版的，我查了一下共有四個(gè)版本——幾番斟酌后選擇了最老的一版，我想這一版應(yīng)該是最忠于原著的吧。

影片開(kāi)始時(shí)，我還抱怨怎么選了個(gè)黑白版本的呀，后來(lái)在火車站，沃倫斯基初見(jiàn)繚繞熱氣中的安娜，驚為天人，我亦然。想想那一幕還挺搞笑的，沃倫斯基在車門前等待的時(shí)候，肯定期待的明明是自己的母親——老態(tài)龍鐘的老婦人，結(jié)果出來(lái)的是一個(gè)如斯美婦人，前后的落差，加上安娜本身的魅力，風(fēng)流如沃倫斯基被她俘獲也是在情理之中的。

安娜此次來(lái)是為了哥嫂調(diào)解關(guān)系的，安娜的哥哥兒女雙全，家有賢妻，卻還在外拈花惹草，在家與家庭教師搞曖昧，老婆不與他鬧翻 才奇怪呢，安娜順利調(diào)解了哥嫂關(guān)系。

在接下來(lái)的舞會(huì)上，幾乎每個(gè)女孩都把自己打扮的純潔如天使，只有安娜一襲黑色天鵝絨長(zhǎng)裙，也真的宛如一只高貴的天鵝。察覺(jué)到沃倫斯基對(duì)自己的愛(ài)意，處于對(duì)家庭的考慮，同時(shí)也不想讓吉蒂傷心，安娜很快結(jié)束了自己的旅程，沒(méi)想到沃倫斯基那廝竟然緊追不舍，多次舞會(huì)，聚會(huì)后，安娜芳心被打動(dòng)，倆人形影不離。但紙是包不住火的，流言蜚語(yǔ)漸漸傳開(kāi)。漸漸地也傳到了安娜的丈夫耳中，可安娜的丈夫卡列寧是怎樣的一個(gè)人呢—— 其貌不揚(yáng)，在官場(chǎng)中卻是個(gè)地位顯赫的人物，是一個(gè)“完全醉心于功名”的人物。他根本不懂

什么是傾心相愛(ài)的情感，他認(rèn)為：他和安娜的結(jié)合是神的意志。他責(zé)備妻子行為有失檢點(diǎn)，要她注意社會(huì)性的輿論，明白結(jié)婚的宗教意義，以及對(duì)兒女的責(zé)任。他并不在乎妻子和別人相好，“而是別人注意到才使他不安”。

沒(méi)看錯(cuò)的話，安娜和卡列寧結(jié)婚已經(jīng)十年了，我敢說(shuō)他們二人初始時(shí)是有過(guò)愛(ài)情的，只是時(shí)間磨平了熱情的痕跡，他們失去了溝通的能力，關(guān)系日漸冷淡。他們倆人的結(jié)晶——謝爾蓋，那個(gè)可愛(ài)的男孩是安娜最大的牽掛。

花園里，沃倫斯基表示愿意拋棄一切和安娜遠(yuǎn)走高飛，因?yàn)橹x爾蓋，安娜拒絕了，沃倫斯基傷心欲絕。藤架下安娜站在十字路口,一邊是情人的憤然離去，一邊是謝爾蓋聲聲呼喚自己的母親看自己的馬術(shù)，幾經(jīng)掙扎后，安娜還是選擇奔向了自己的兒子。

馬場(chǎng)，沃倫斯基的墜馬，安娜的失態(tài)，丈夫的告誡，讓她對(duì)自己的丈夫更加厭惡，從而奔向浪漫英俊的沃倫斯基的欲望如氣球般膨脹到瀕臨破裂的地步，她如飛蛾撲火般奔向沃倫斯基的環(huán)抱。他們沉浸在愛(ài)河之中，暢游意大利，然而旅途中偶遇的小男孩，讓安娜想到了自己可愛(ài)的謝爾蓋，于是決定回歸故里。然而，當(dāng)初她的不顧一切，付出了代價(jià)，卡列寧禁止母子相見(jiàn)，安娜無(wú)比傷痛，謝爾蓋生日那天母子的相見(jiàn)，催人淚下。

而另一方面，沃倫斯基對(duì)自己的軍隊(duì)和戰(zhàn)友有著無(wú)法割舍的感情，漸漸地他們之間也出現(xiàn)了隔閡與猜忌。劇場(chǎng)安娜受到的羞辱，在沃倫斯基母親身邊的年輕女子，加上無(wú)法見(jiàn)到愛(ài)子的苦悶

讓安娜幾乎歇斯底里。當(dāng)沃倫斯基提出要去塞爾維亞參戰(zhàn)時(shí)，安娜認(rèn)為是沃倫斯基厭倦了和她在一起的生活而想躲開(kāi)她。倆人不歡而散，沃倫斯基再次奪門而出。

其實(shí)，我想說(shuō)，安娜愛(ài)的也許是軍官身份的沃倫斯基，而沃倫斯基愛(ài)的也許是卡爾寧夫人身份的安娜，脫離了這種背景，光環(huán)。倆個(gè)人的愛(ài)情也許就不像之前那般了。并且沃倫斯基也明確表達(dá)了自己終日呆在鄉(xiāng)下的不甘與無(wú)趣，他注定是熱愛(ài)軍隊(duì)的生活。失去了軍官的光環(huán)，他整個(gè)人也就不似從前了。

安娜瘋狂的尋找沃倫斯基，她只剩下他了，可是沃倫斯基卻擁有更多。當(dāng)火車站，意氣風(fēng)發(fā)的沃倫斯基與母親，以及那位可能成為正牌沃倫斯基太太的女孩依依惜別時(shí)，安娜的整個(gè)天空就塌了。最終在寒冷的夜晚，帶著對(duì)世界的眷戀與恨意，走上了不歸路。

而沃倫斯基注定會(huì)生活在內(nèi)疚中一輩子，但是這又怎樣，他也許就像《雷雨》中的周樸園一樣，照樣結(jié)婚生子，只是在某個(gè)特定的日子里緬懷一下這位已逝佳人。

愛(ài)情真的不是一切。

第三篇：安娜卡列尼娜影評(píng)

風(fēng)絮飄殘以化零，泥蓮剛倩藕絲縈，珍重別拈香一瓣，記前生。人到情多情轉(zhuǎn)薄，而今獨(dú)個(gè)悔多情，又到斷腸回首處，淚偷零。

——————納蘭性德

總忘不了的是安娜那雙憂傷迷離滿是剪不斷理還亂莫名情思的眼睛。也從此知道，額前留頭簾的女子一定要有一雙大而不空洞的眼睛。所以當(dāng)安娜倒向鐵軌的那一瞬間，我分明看到她褐色的眼睛里有一種絕望隨著睫毛的抖動(dòng)而向四周擴(kuò)散，就像沾了水的舊信箋，蔓延的不可抑制。

那是一種對(duì)愛(ài)情的絕望。

羅曼羅蘭說(shuō)，愛(ài)情是一件很無(wú)奈的事，你喜歡別人，別人不一定喜歡你；別人喜歡你，你又不喜歡別人；兩個(gè)人互相喜歡又未必能在一起。可是，最無(wú)奈的莫過(guò)于，紅地毯已經(jīng)走過(guò)，樂(lè)曲也已經(jīng)奏罷，兩情相悅的王子公主終于牽了手，日后的生活卻并非想象的那樣童話般美妙。

安娜縱是鐵了心，不要名譽(yù)，不要富貴，拋夫別子，甘受千夫所指；渥淪斯基即便豁出去，不要前途，不要門當(dāng)戶對(duì)，可是當(dāng)兩個(gè)人真的住在了一起過(guò)起了貌似夫妻的生活，曾經(jīng)的山盟海誓的愛(ài)卻剎時(shí)成了傷人的利器，彼此中傷，彼此誤會(huì)，甚至彼此厭惡。

也許他們真的后悔了。發(fā)現(xiàn)除了愛(ài)情，除了身邊這個(gè)女人，身邊這個(gè)男人，生活中還有那么多誘惑，那么多欲望，得到的東西畢竟是最不值得珍重的東西。亦或著愛(ài)真的是有極限的，“人到情多情轉(zhuǎn)薄”，取一個(gè)最大值后就只能規(guī)律的陷入低谷？

也許愛(ài)情真如流星，開(kāi)始總會(huì)沖破黑暗閃耀于天野，最后又重新墜入黑暗，成為廢墟中的瓦礫。從天上到地下，從星星到石頭，大概是愛(ài)情潮起潮落的過(guò)程。

愛(ài)比戀更冷。這個(gè)譯名告訴我們情愛(ài)原是一種溫度，燃燒到頂點(diǎn)結(jié)局也只是灰燼。想起另一部電影---《愛(ài)的蹦極》，愛(ài)把我們逼至懸崖，又逼至我們縱身躍下，形成一個(gè)令人心上的弧度。

有個(gè)詞組叫做fade out ,逐漸淡出。一個(gè)日本女作家用它來(lái)形容男女之間退色的關(guān)系，準(zhǔn)確無(wú)比，一語(yǔ)中的。所有的顏色都會(huì)退色，但紅色最能顯現(xiàn)退卻的程度，因?yàn)樗菢O致的絢爛鮮 艷，稍有差池便失去色澤，“每到紅處便成灰，”紅色原是最經(jīng)不起摔打的顏色。愛(ài)情就是紅色，玫瑰的紅，血紅，濃烈的那么容易頹敗而灰頭土臉。

而彼時(shí)的愛(ài)情和曾經(jīng)的熾熱已經(jīng)讓他們騎虎難下，過(guò)去的刻骨銘心成為一種束縛，若是分開(kāi)，別人會(huì)說(shuō)愛(ài)不過(guò)是他放浪形骸的借口，不過(guò)是她難耐寂寞的掩飾。他們必須在一起，以次證明這是段愛(ài)情而不是眾人口中的通奸，只是，在一起又真的痛苦。

要是安娜沒(méi)有自殺，而是沉溺于酒精或鴉片直至焦慮而死，渥淪斯基只會(huì)耗盡了愛(ài)意，用一種居高臨下的憐憫埋葬了她，然后繼續(xù)鶯鶯燕燕，歌舞升平，信步周旋于淑女名媛之間，但安娜死去的方式讓他良心上的愧疚彌補(bǔ)了愛(ài)情上的缺陷，于是，一個(gè)人死去了，另一個(gè)人在追悔中了卻殘生，難道愛(ài)情一定要以悲 劇來(lái)升華？而這又真的是愛(ài)嗎？也許僅僅是對(duì)失去的東西人人固有的痛徹肺腑的追悼？如果不愛(ài)那么深，結(jié)局是不是就不會(huì)那么傷人？曾經(jīng)情深幾許，到最后，竟只能“獨(dú)個(gè)悔多情”。

也只好，“又到斷腸回首處，累偷零”。哭那一地的落紅，哭那曾經(jīng)水分和陽(yáng)光充足的愛(ài)情。

當(dāng)安娜與渥倫斯基在火車站臺(tái)第一次相見(jiàn)時(shí)，“但是感到他非得再看她一眼不可?當(dāng)他回過(guò)頭來(lái)看的時(shí)候，她也掉過(guò)頭來(lái)了，她那雙在濃密的睫毛下下面顯得 陰暗了的、閃耀著的灰色眼睛親切而留意地盯著他的臉、似乎是在尋找什么人似的”一見(jiàn)鐘情固然以悲劇結(jié)尾，可浪漫的邂逅卻讓我沉醉在美妙的、沉靜的境界中。賽馬場(chǎng)上安娜的失控表露了他們的戀情，安娜生下了他的孩子，卡列寧的宗教寬容讓安娜感謝又憤怒，安娜與渥倫斯基出國(guó)了，又回來(lái)了，安娜遭到了社交界以及家 庭的拋棄，而渥倫斯基卻重新踏進(jìn)社交圈，醉心于自己美好的前途，懸而未決的離婚協(xié)議、肝腸寸斷的念子之情、自私深沉的愛(ài)情獨(dú)占心理，這一切既讓安娜體會(huì)到 了八年的無(wú)愛(ài)婚姻里喪失已久，又讓她平靜的心靈經(jīng)歷了一場(chǎng)喜怒哀怨的風(fēng)暴。而我也隨著安娜的故事沉浮時(shí)而興奮，時(shí)而憂傷，時(shí)而掙扎。尤其到了后面，安娜被 孤獨(dú)與嫉妒折磨得生不如死，沒(méi)有人傾述、沒(méi)有人理解時(shí)，我終于能稍微明白為什么安娜選擇死亡，她太痛苦了，死亡才能擺脫一切。

渥倫斯基 愛(ài)安娜，而且他的愛(ài)并不膚淺，也許剛開(kāi)始他對(duì)安娜的愛(ài)戀有著虛榮的成分，但安娜患上產(chǎn)褥熱即將死往時(shí)，“他在她患病期間真正熟悉了她，了解了她的心靈，所 以他覺(jué)得以前就似乎從來(lái)沒(méi)有愛(ài)過(guò)她，現(xiàn)在，在他了解了她，真正愛(ài)上她的時(shí)候，他卻在她眼前顯得非常低下”甚至列文也為她傾倒，由于“她除了聰明、文雅、美 麗之外，她還非常老實(shí)?”我也愛(ài)安娜，從書(shū)中瞥見(jiàn)她的第一眼，我便愛(ài)上了這個(gè)“仿佛有一種過(guò)剩的生命力洋溢在她整個(gè)的身心，違反她的意志，時(shí)而在她的眼睛 的閃光里，時(shí)而在她的微笑中顯現(xiàn)出來(lái)”的生氣勃勃的女人，而她鼓起勇氣與情人遠(yuǎn)走高飛時(shí)，我更是不可抑止的迷戀上了她，這種迷戀不在是站在讀者的角度喜歡 她、欣賞她，我甚至想自己就化身為她，讓我能分享她生命力的一切迷人品質(zhì)。

可愛(ài)的安娜還是自殺了，當(dāng)看到她在自我折磨中苦度人生時(shí)，我 甚至希看她早點(diǎn)結(jié)束生命。她的死亡始終是一個(gè)悲劇，吉蒂獲得了幸福，多麗依舊安穩(wěn)度日，卡列寧照樣平步青云，可只有安娜，由于她選擇了自由，選擇了真誠(chéng)，選擇了勇敢，最后卻不得不死亡，她違反了貴族社會(huì)的游戲規(guī)則，做了冷酷自私者中的一個(gè)叛逆者，由于“我只是想活，除了自己，不會(huì)傷害任何人，我有權(quán)利這 樣”。這是她的咎由自取嗎？這是她成為一個(gè)所謂的墮落的貴族婦女而理應(yīng)遭到的報(bào)應(yīng)嗎？安娜在姑母的安排下，嫁給了年長(zhǎng)的、迂腐的、虛偽的卡列寧，八年時(shí)間 里，他壓抑了她一切的熱情和生氣，當(dāng)我們知道排除了愛(ài)情以權(quán)力地位為基礎(chǔ)的婚姻是不公道的，分歧人性的，當(dāng)我們肯定了個(gè)人追求自由與幸福的價(jià)值，又有何權(quán) 利指責(zé)她的選擇呢？

然而安娜的死亡是必然的，這并非由于她道德敗壞，自私善妒，只是由于她是女人，是一個(gè)真誠(chéng)的女人，是一個(gè)貴族社會(huì)真 誠(chéng)的女人，是一個(gè)男權(quán)社會(huì)下貴族社會(huì)里還保持著真誠(chéng)的女人，因此她只能自殺。假如她是多麗，忠信老實(shí)地守著家庭，在懷孕生子，再懷孕生子中耗費(fèi)青春，而且 不得不苦咽下風(fēng)騷丈夫到處拈花惹草帶來(lái)的痛苦，她就會(huì)繼續(xù)如困獸般維系無(wú)聊的婚姻，假如她是培特西夫人，私下放蕩荒淫但表面道貌岸然，她就不會(huì)在賽馬 場(chǎng)上失聲而起，而且隨著渥倫斯基離開(kāi)了家庭，或者假如她能有一份自己的事業(yè)，她就能發(fā)揮自己的才智，充實(shí)自己的生活，不再是只要愛(ài)情，一切都不重要的小女 人。但她的命運(yùn)注定她無(wú)法生存。

電影以人物康斯但丁列文的角度來(lái)講述故事，康斯但丁列文的真實(shí)身份是列夫.托爾斯泰，然而他僅僅是一個(gè)講述者，真正的主人公是安娜、伏倫斯基、卡列寧——三個(gè)生存在同樣社會(huì)上不同性格的人。

安娜給予我的感觸最多，讓我從根本上改變了對(duì)一個(gè)人的看法。“死時(shí)還沒(méi)懂得愛(ài)的真諦，那就比死亡本身更可怕了。”剛開(kāi)始的這句話我是一直不能理解，或 許是因?yàn)檫@話我本身并不曾體會(huì)過(guò)，然而，俯觀了安娜的一生，看著她走過(guò)的日子，感受過(guò)她的內(nèi)心想法，到后來(lái)完全懂了這句話的含義：這是一種對(duì)愛(ài)的追求的精 神，這是一股為愛(ài)犧牲一切的力量，也正是這種力量精神促使了安娜的死亡。

到結(jié)局我始終不肯相信安娜會(huì)死去，而且是自殺，因?yàn)檫@種做法對(duì)一個(gè)明智的人來(lái)說(shuō)本

身是愚昧的，但是當(dāng)時(shí)的社會(huì)卻逼得她去死，安娜實(shí)在是太可憐了。

可憐的安娜是個(gè)很真誠(chéng)勇敢的人，但只能從她追求愛(ài)情方面來(lái)衡量，正如安娜本人說(shuō)：她不是一個(gè)好妻子和好母親。我并不想抨擊安娜的出格，但是她相愛(ài)的方式確實(shí)很另類，所以難以避開(kāi)世俗眼光的看法。

我覺(jué)得在追求愛(ài)情這個(gè)問(wèn)題上，一切隨心是最重要的，如果呆在一個(gè)自己不喜歡的人身邊過(guò)日子，心里卻在想著另外一個(gè)人，這樣的日子無(wú)論如何也沒(méi)辦法讓我 接受，當(dāng)然，安娜也不會(huì)接受，所以她選擇了一個(gè)正確的愛(ài)情。關(guān)鍵是她選對(duì)了，卻沒(méi)有做對(duì)，她是以一個(gè)非常愚昧的做法開(kāi)始她新的愛(ài)情，當(dāng)了別人的情婦，紅杏 出墻，那她的死很有可能就是因果報(bào)應(yīng)了。何況安娜本身太執(zhí)著了，對(duì)愛(ài)情的追求蒙蔽了她的眼睛，使得她不但拋夫棄子，甚至懷疑自己的情人，跟伏倫斯基沒(méi)有很 好的溝通，便斷絕了自己的出路。

總體上來(lái)說(shuō)，安娜是一個(gè)可敬又可憐、勇敢有沖動(dòng)的女人，她的性格注定了她悲慘的一生命運(yùn)。

伏倫斯基是一個(gè)很有魅力的男人，古語(yǔ)說(shuō)，愛(ài)江山更愛(ài)美人，伏倫斯基的一生證實(shí)了這句話。一個(gè)英俊瀟灑、事業(yè)有成的男人，一旦為了一個(gè)有夫之婦夜夜不能 眠，這種情況確實(shí)很容易斷送他的一生。然而，伏倫斯基豁了出去，為了安娜，他確實(shí)曾經(jīng)放下一切。伏倫斯基本來(lái)就是很聰明的人，他的想法并不像安娜那樣單 純，他想擁有安娜，也想擁有自己的事業(yè)和生活，跟安娜僅僅擁有愛(ài)情的想法是不一樣的，所以他跟安娜私奔后再次回到圣彼得堡去以法律手段來(lái)解決安娜的婚姻問(wèn) 題。

伏倫斯基給了我希望，我一直以為結(jié)局會(huì)很完滿，只要安娜等著離婚的消息就行了，多簡(jiǎn)單一切就柳暗花明，轉(zhuǎn)機(jī)可是存在時(shí)時(shí)刻刻、分分秒秒，前提是安娜不 死的話。可是安娜卻斷掉了我的希望，也斷送了伏倫斯基的一生。伏倫斯基本身就是一個(gè)非常好的男人，我認(rèn)為安娜真愛(ài)他就不應(yīng)該懷疑他，真愛(ài)他就應(yīng)該在背后默 默支持他，而不是盲目去占有他，所謂物極必反正是安娜的做法體現(xiàn)。用伏倫斯基的話來(lái)說(shuō)，安娜確實(shí)不可理喻。

我想，安娜是一個(gè)好女人，我卻不會(huì)愛(ài)上這種女人，人生活在世上本應(yīng)該快快樂(lè)樂(lè)的，而安娜卻追求爛漫和曇花一現(xiàn)，甚至為此犧牲性命，實(shí)在是太無(wú)知了。你 看，以安娜的做法面對(duì)人生，身邊的人都得到了些什么，丈夫沒(méi)了妻子，孩子沒(méi)了母親，情人沒(méi)有了活著意義，那豈是她一個(gè)人的事，一死了之還真是自私。安娜常 常讓我惋惜，伏倫斯基卻一直讓我感動(dòng)，做男人就得像他一樣。

卡列寧這個(gè)人一看就知道是很傳統(tǒng)的人，腳踏實(shí)地，事業(yè)有成，應(yīng)該是個(gè)好男人。然而，越是深入了解我就越懷疑這個(gè)人，可能是日久見(jiàn)人心吧。我在想，也許 是他偽裝得太好的緣故，所以身邊的人都說(shuō)他是一個(gè)好人，事實(shí)并非如此。一個(gè)好人會(huì)不讓一個(gè)想見(jiàn)孩子想得痛徹心扉的母親見(jiàn)見(jiàn)自己的孩子?一個(gè)好人會(huì)讓一個(gè)自 己愛(ài)著的女人得不到自己的幸福？答案是，不會(huì)。

所以，由此至終，卡列寧把自己包裝起來(lái)，滿口經(jīng)文信仰，在基督信徒的偽裝面具下展開(kāi)他劣質(zhì)的行為，他內(nèi)心本來(lái)就是一個(gè)小人。他自大，所以要占有一切，他自私，所以容不得別人幸福；他無(wú)情，所以折磨妻子，他無(wú)義，所以不理睬孩子。我一直搞不懂卡列寧到底有什么追求，看得出他并 不愛(ài)享受生活，難道他所做的一切僅僅是為了滿足自己的虛榮心嗎？真為這樣的人感到可悲。

看完電影我才發(fā)覺(jué)生活中我們也有他們的影子，為人處事存在他們的痕跡，我只希望不要有人重復(fù)他們走過(guò)的路，快快樂(lè)樂(lè)活在當(dāng)下不是更好嗎？

第四篇：安娜卡列尼娜影評(píng)

毀滅之前

——看《安娜卡列尼娜》有感看完電影《安娜卡列尼娜》，有種很復(fù)雜的感觸，震撼、感動(dòng)、悲傷抑或是無(wú)奈，太多感受，讓人來(lái)不及咀嚼。

安娜的眼神一直如此專注的向前方凝視，直到她的眼神開(kāi)始閃爍，她愛(ài)上了沃倫斯基，于是她將自己凝聚已久的渴望爆發(fā)出來(lái)，毅然地從沒(méi)有愛(ài)情的婚姻中走出，那一刻，她彷佛一下子變得年輕有活力起來(lái)，原本自信而平穩(wěn)的步伐顯然有些乏味，然而，當(dāng)她真的勇敢地拎起裙子向自己要的自由奔去時(shí)，她像極了一個(gè)可愛(ài)的天使。但是最后他們的愛(ài)情又怎樣呢？這種終極的追問(wèn)使那些宣揚(yáng)愛(ài)情自由的作家們有些尷尬，就像格林童話的結(jié)尾，往往是“王子和公主過(guò)上了幸福的生活”，但這只是他們的斗爭(zhēng)取得了階段性的勝利，他們建立了家庭之后又是怎樣呢？真是幸福嗎？看看安娜和沃倫斯基就知道了。他們鬧得滿城風(fēng)雨，終于生活在了一起之后，他們并不快樂(lè)。沃倫斯基要忙公事，要盡自己“對(duì)于社會(huì)的責(zé)任”，但是安娜卻不依不撓，認(rèn)為他背叛了自己。最終換來(lái)的只是爭(zhēng)吵和淚水。安娜要的是純粹的愛(ài)，她既沒(méi)有工作，又沒(méi)有社交，這對(duì)于女人看似是自由，其實(shí)卻是深深的牢籠。她得不到她想要的愛(ài)，最終，安娜只能走向毀滅。結(jié)尾安娜去自殺，她坐在車上，玻璃中流動(dòng)的街景和安娜的臉部

重疊，虛實(shí)結(jié)合，明暗結(jié)合，加上安娜心理活動(dòng)的畫外音，準(zhǔn)確的反映了當(dāng)時(shí)的氣氛和心境，稱得上經(jīng)典。

電影里面的人物各有特色。花心的奧勃朗斯基和隱忍的太太，他們的生活也許是真正的世俗生活；耽于思考的列文和純真的基蒂，他們過(guò)的是令人向往的田園式的精神生活；卡列寧，一個(gè)脫離了低級(jí)趣味的官僚機(jī)器，一個(gè)可悲的“圣人”。

所有人里面，列文和基蒂算是最幸福的，也是我最喜歡的一對(duì)。基蒂是一個(gè)簡(jiǎn)單的女孩，像所有女孩一樣向往著自己能嫁給自己心中的白馬王子，到后來(lái)一切并非如她所愿，可是，她最后還是選擇了一個(gè)感動(dòng)自己的人，并且滿足的和列文在一起。列文是一個(gè)喜歡鄉(xiāng)村生活的人，也許少了城市人之間相互交流的高貴與儒雅。就像影片中他與可沃倫斯基關(guān)于鄉(xiāng)村與城市的對(duì)話，雖然，對(duì)話的結(jié)果，好像列文略遜一籌，可是，其實(shí)到最后我們才知道，真正的贏家是列文。他勇敢的愛(ài)著、并且堅(jiān)持著，樸實(shí)的他卻是一個(gè)細(xì)膩而讓女孩感動(dòng)的人，真因?yàn)樗恼嬲\(chéng)，他最后得到了他心愛(ài)的女子。他一直堅(jiān)信著的，鄉(xiāng)間的生活才是從物質(zhì)到精神上最自由的生活。

對(duì)于沃倫斯基和安娜，我只是想用凄美來(lái)表達(dá)他們的愛(ài)情。他們都是深愛(ài)著對(duì)方的，原本，他們覺(jué)得，他們可以拋開(kāi)世俗的一切去愛(ài)。但是，當(dāng)他們覺(jué)得已經(jīng)跨過(guò)最難的那關(guān)時(shí)，安娜已經(jīng)很累很累，所以，他們的步調(diào)無(wú)法一致。最后，安娜結(jié)束生命。

沃倫斯基說(shuō)，戰(zhàn)爭(zhēng)對(duì)于他來(lái)說(shuō)，也許是上天對(duì)他最后的恩賜。他剩余的生命好像沒(méi)有了其他的意義，所以，它決定將生命獻(xiàn)給戰(zhàn)爭(zhēng)。沃倫斯基看著窗外，一個(gè)男人的流淚比起女人更讓人心酸，火車駛向遠(yuǎn)方……

電影當(dāng)中還有幾個(gè)讓我覺(jué)得特別精彩的鏡頭。一個(gè)是沃倫斯基賽馬一段的鏡頭運(yùn)用，賽馬的人、觀眾的反應(yīng)、安娜和卡列寧的反應(yīng)交替剪輯，有遠(yuǎn)景、近景、特寫，有俯拍、仰拍，飛馳的馬蹄、馬背上的人、賽馬人眼中的觀眾，令人目不暇接，絕對(duì)一場(chǎng)拍攝賽馬（比賽）運(yùn)動(dòng)的好戲。其二是卡列寧家的房間設(shè)計(jì)也別出心裁，鏡頭在其中穿堂入室，令人想起《俄羅斯方舟》，人物對(duì)話不用正反打，前后景和變焦鏡頭的使用也恰到好處。其三是安娜和沃倫斯基在意大利游玩的一段，剪輯和配樂(lè)很好的體現(xiàn)了安娜的歡快心境。還有安娜回家看兒子的一段，她抱起兒子在房間內(nèi)旋轉(zhuǎn)，用主觀鏡頭來(lái)表現(xiàn)，一圈、兩圈，突然鏡頭停住，固定在門口的卡列寧身上，歡快戛然而止。關(guān)于電影，沒(méi)有過(guò)多想去表達(dá)的東西，更多的是內(nèi)心無(wú)法用言語(yǔ)來(lái)表達(dá)的體會(huì)。我只是覺(jué)得生活中有很多東西使我們無(wú)法得到的，但是如果堅(jiān)持去做了，那么一定要做好充分的準(zhǔn)備。從物質(zhì)到心理都必須去承受最后的結(jié)局，無(wú)論喜與悲。也許，更多的時(shí)候，我們可以選擇隱忍，關(guān)于生命的精彩，你可以放棄，只是做簡(jiǎn)單的事。我們要學(xué)會(huì)知足，至少要知道什么是自己要的，什么時(shí)候該停止。有很多時(shí)候，我們總是不得不把事情想得很復(fù)雜，有很多東西確實(shí)也很復(fù)雜。但是，面對(duì)人生，很多時(shí)候是心態(tài)的問(wèn)題。人生的旅途中，我們追尋的幸福并非在終點(diǎn)，而是，你一路應(yīng)該有的態(tài)度。

又有很多時(shí)候，我們知道要如何去做，卻偏偏做不到，那么究竟該怎么辦呢？生命就是如此，有很多東西需要你一路不斷去克服的，整個(gè)世界都太復(fù)雜了，包括個(gè)人。人生的長(zhǎng)度不由我們控制，但是它的寬度完全可以由你來(lái)決定。

很多事情是沒(méi)有對(duì)與錯(cuò)的絕對(duì)標(biāo)準(zhǔn)的，所以，《安娜卡列尼娜》里究竟是誰(shuí)釀造了這樣一個(gè)結(jié)局。很難去回答這個(gè)問(wèn)題，也許，正是因?yàn)檫@個(gè)故事最后的結(jié)局，讓我們更多的去回頭看這個(gè)故事。

如果直到發(fā)現(xiàn)自己困在一個(gè)接近死亡的洞穴時(shí)才尋求出口，那么，或許，唯一痛快的方法就是盡快結(jié)束這種痛苦的煎熬。又或者，你該換個(gè)角度去思考這個(gè)問(wèn)題，也許問(wèn)題不能立馬解決，但是，一定要盡快擺脫這種境遇，無(wú)論用什么方法，否則，結(jié)局只有毀滅。

學(xué)會(huì)換個(gè)角度去面對(duì)問(wèn)題，或許，眼淚就不會(huì)那么苦澀。

第五篇：安娜卡列尼娜 影評(píng)

折磨古琳馨

——讀《安娜卡列尼娜》有感

一曲愛(ài)情的悲歌舉世無(wú)雙；一顆受情感與理智折磨之至的心絕望地凋零；一段注定悲劇的情緣仍然執(zhí)著再續(xù)。安娜卡列尼娜，一個(gè)令人扼腕嘆息的名字。

風(fēng)雪中的安娜，一展絕望和痛楚的笑顏，終于臥在冰涼的鐵軌下，解脫了充滿憂慮、欺詐、悲傷和罪惡的人生。生命的最后一刻，安娜以“上帝，請(qǐng)饒恕我的一切”作為對(duì)人世的訣別，這是她的理智和良心對(duì)自己行為最真實(shí)的批判。拋夫棄子脫離家庭，她執(zhí)著勇敢地追求著真摯的愛(ài)情，卻因舊社會(huì)的道德法律，讓可恥、墮落與負(fù)罪等邪惡的意識(shí)相繼注入了安娜脆弱無(wú)助的靈魂。令她靈魂豐滿不竭的源泉——人生之燭，也在生命的盡頭，閃了一下比任何時(shí)刻都明亮的光芒，為她照亮了原來(lái)在黑暗中的一切，就“咣波”一聲昏暗下去，永遠(yuǎn)熄滅了??

遠(yuǎn)望著安娜血淋淋的尸體，孤獨(dú)冰涼地躺在車站，臉上還殘留了令人恐怖的絕望神情，安娜和弗倫斯基的愛(ài)情不忍回緬??

一、車站偶然邂逅

薄薄的蒸汽緩緩升騰，震住了彼此的呼吸，面紗下的安娜獨(dú)具風(fēng)韻。四目相對(duì)的瞬間 安娜已悄然在內(nèi)心做出了神秘的選擇，情愫暗生。

“這短短的一瞥中，弗倫斯基發(fā)現(xiàn)有一股被壓抑著的生氣，閃現(xiàn)在她的臉上，蕩漾在她那明亮的眼睛和彎了彎朱唇的微微一笑中。仿佛她身上有太多的青春活力，以至于由不得她自己，忽而從明亮的目光中，忽而從微笑中流露出來(lái)。她有意收斂起眼睛里的光彩，但那光彩卻不聽(tīng)她的，又在微微一笑中迸射出來(lái)。”

安娜最具魅力的從來(lái)都不是華貴的服飾，也不是清麗的相貌，而是那“一股被壓抑的生氣”和“她身上太多的青春活力”。弗倫斯基敏銳地覺(jué)察到了這點(diǎn)。這魅力來(lái)源于8年同丈夫卡列寧官僚機(jī)械般的生活，內(nèi)心被壓抑已久的愛(ài)欲形諸于色。不言而喻，安娜不可抗拒的生命本能使其魅力任意流淌，挑動(dòng)了弗倫斯基的心。

同時(shí)，突如其來(lái)的看道工意外慘死于車輪之下，安娜大驚失色，認(rèn)為這與她有必然聯(lián)系，不由道出了“不祥之兆”。這四個(gè)字令人毛骨悚然，但也暗示了她內(nèi)心的情愛(ài)之欲和所謂的社會(huì)道德理性的人生天平已被打破，開(kāi)始傾斜。但安娜是舊社會(huì)的貴族一手造就的，這讓她也不得不“理性”地恪守舊社會(huì)的倫理道德。因此，愛(ài)欲一閃際于腦海時(shí)，安娜既感幸福，又深感可怖。她已用社會(huì)意識(shí)筑了一道高墻，竭力地控制著自己。

可知，當(dāng)愛(ài)欲泛濫成災(zāi)，生命的本能便爆發(fā)出了不可抵擋之勢(shì)。

二、舞會(huì)再遇

安娜與弗倫斯基再度在舞會(huì)上相逢。

這一次，激情的洪流瞬間擊垮了安娜用理性苦心構(gòu)筑的防線，因?yàn)槟抢碇鞘侨绱说能?無(wú)力。

安娜在與弗倫斯基對(duì)舞時(shí)，第一次大膽地用含情脈脈的雙眼傳遞著無(wú)限的風(fēng)情之球。眼睛里閃動(dòng)著抑制不住的激動(dòng)，朱唇上浮現(xiàn)著難以掩飾的幸福。“安娜醉了，飲的是男人的傾慕之酒。”但在我眼里，她的陶醉不僅因弗倫斯基表現(xiàn)出的傾慕與敬重，更是由于安娜的一身情欲被弗倫斯基激活了。被弗倫斯基冷落的吉娣，一直都很敬重安娜，因?yàn)樗J(rèn)為安娜身上有一種“崇高的、她吉娣無(wú)法理解的復(fù)雜的、詩(shī)意的境界”，但她現(xiàn)在覺(jué)得安娜有一股“與眾不同的、妖魔般的、格外迷人的力量”。安娜直到看見(jiàn)吉娣失望的臉龐時(shí)，才重回現(xiàn)實(shí)，感到既幸福，又內(nèi)疚。于是理性重新規(guī)束自己。她提前回到了莫斯科，回到丈夫身邊，以此平復(fù)跌宕不寧的心。

那境界，那力量，寥寥幾筆，卻讓我看見(jiàn)了安娜完全掙脫了社會(huì)道德倫理的枷鎖、不顧

一切地享受自己作為一個(gè)活生生的人的喜悅。只有那一刻，安娜不用像一個(gè)戴著面具的人活著。

三、歸途重逢

歸途中，安娜浮想聯(lián)翩著舞會(huì)的種種美好，腦海里依然飄蕩著弗倫斯基深情的眼睛。幸福的時(shí)刻讓她與殘酷的現(xiàn)實(shí)掙扎起來(lái)，就像她的情感與意識(shí)一樣糾結(jié)。

“您的每一句話，您的一舉一動(dòng)，我都永遠(yuǎn)不會(huì)忘記，也無(wú)法忘記??” 弗倫斯基執(zhí)著地追在安娜身邊并再一次熱烈而真摯地表白。安娜的心震撼了。

她內(nèi)心雖有熱情之海澎湃萬(wàn)千，但仍口是心非：“求您，別說(shuō)了，請(qǐng)同我一道忘記這次邂逅吧。”

心海泛濫，注定這場(chǎng)情緣再續(xù)。安娜終于不再拒絕，如饑似渴地享受著弗倫斯基的愛(ài)情。本以為會(huì)天長(zhǎng)地久，不知如此盲目的愛(ài)情終會(huì)凋零。

歲月流逝，安娜終于在弗倫斯基的厭倦、上流社會(huì)的驅(qū)逐、自身對(duì)愛(ài)情的猜忌和對(duì)丈夫的負(fù)罪感中丟下了頭。弗倫斯基，他是帶給安娜幸福和真正愛(ài)情的天使，但也是他淺薄的愛(ài)情，令安娜的人生陷入了無(wú)限的苦痛，將她推入了地獄般糾結(jié)的生活。在他的愛(ài)情做不到對(duì)安娜專有時(shí)，安娜反抗舊社會(huì)的精神動(dòng)力也日漸枯竭，她本已支離破碎的心在舊社會(huì)道德倫理這條四面楚歌的道路上徹底崩潰。

人性已被扭曲，再?zèng)]有勇氣追求正當(dāng)?shù)膼?ài)情。淺薄的愛(ài)情，讓她失去了一切，被她賦予了罪惡感的愛(ài)情不能填補(bǔ)失落生活的空虛。

走向毀滅，成了必然的事實(shí)。

這個(gè)由上流社會(huì)一手造就、又由上流社會(huì)推向滅亡的安娜隕落了，隕落在一個(gè)吃人的舊社會(huì)里。敵對(duì)的意識(shí)和守護(hù)舊社會(huì)的觀點(diǎn)，讓像安娜一樣的女性忍受著無(wú)盡的痛苦與折磨。

小說(shuō)里還有的一條線索，就是列文。盡管最初他對(duì)愛(ài)情有像安娜同樣的迷惘，他們都不愿與貴族同流合污，但是他未選擇愛(ài)情，而是投身農(nóng)民事業(yè)，種種經(jīng)歷，讓他探索了生命的真諦。但是我的心里已容不下列文，執(zhí)著地、只想讓安娜的悲劇震撼我的心。一切深刻的體會(huì)都源于悲劇。因此，安娜的悲慘愛(ài)情也有著強(qiáng)烈的現(xiàn)實(shí)意義：自古婦女便是男人情欲的玩物，但當(dāng)她們勇敢追求愛(ài)情與幸福的權(quán)利時(shí)，卻要被冠上背離社會(huì)道德、法律和正義的罪名，驅(qū)逐她們，從而逼迫她們就范甚至置于死地。

香消玉殞的茶花女，早夭的林黛玉，臥軌的安娜??多少想要逾越鴻溝的血性女子用鮮血把文學(xué)史染得血跡斑斑。

我厭惡托爾斯泰于作品中流露出的對(duì)安娜的鄙棄和幾分嘲弄，我也自始自終不認(rèn)為她是個(gè)不忠貞的妻子，事實(shí)上，我愛(ài)著安娜。情欲的確是使人墮落的最大力量，但一旦跨越了欲望，人的靈魂也就沒(méi)有了意義。

“我若是戰(zhàn)勝情欲

稱得上偉大圣賢

但若是一敗涂地

倒也得艷福不淺”

人人都向往柏拉圖式純潔無(wú)暇的愛(ài)情，以為它完美無(wú)缺，卻不知非柏拉圖式愛(ài)情本身就可悲而不可悲：“謝謝你滿足了我的欲望，再見(jiàn)吧。”

“伸冤在我，我必報(bào)應(yīng)”。卷題辭在我看來(lái)是最不經(jīng)意但卻是最珍貴的神來(lái)之筆。僅以此文謳歌安娜的悲劇，因?yàn)檫@痛苦震撼了我幼小的心靈，也因它喚醒了人世對(duì)“性”與“情”的審視和對(duì)愛(ài)情的重新理解。

一切折磨和痛苦才能換來(lái)思想的進(jìn)步，智慧的源泉也始自一刻糾結(jié)而慧敏的心。