Layers of family drama unfold, exposing the same levels of dysfunctionality, the same preoccupation with matters of infidelity.īell’s award winning work on two earlier TV drama adaptations Puberty Blues (2012), The Slap (2011) feeds into her depiction of sexual exploration and familial disputes. ![]() The heady story of love and obsession is of relevance to all times but what’s achieved in this adaptation is a similarly telling critique of a society at a specific moment in time. Rather than replicating 19th century Russia, Bell and Gavin create a contemporaneous Australian family drama of compelling energy for their 21st century audience. The Bell/Gavin script has a particularly Australian flavor to it and earlier television dramas they’ve penned clearly influence their treatment of Tolstoy’s story. It is difficult to see how this seemingly radical recalibration of Tolstoy’s narrative can possibly work. ![]() Their status as modern day tennis celebrities ensures their transition from Tolstoy’s 19th century Russia to 21st century Australia within a familiar context, while Vronsky’s military potency is translated to that of indie record producer, Skeet ( Benedict Samuel), the sexy outsider whose star momentarily enters the gullible Kitty’s orbit.
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