Anna Karenina, written by famed Russia author Leo Tolstoy, often finds itself on the list of the best novels ever written. As such, given film’s taste for both costume, drama, and importance, it should come as no surprise that the novel would find itself the subject of a brand new adaptation. It should also come as no surprise that Joe Wright, he of Atonement and Pride and Prejudice fame, would choose to direct such a feature. The pairing alone, in the most conventional sense, was enough to make this film a member of our illustrious 145 Most-Anticipated of 2012 list. However, a number of new details have arisen over the last few days that give even greater cause for the interest surrounding this picture.

In the latest issue of Empire (via The Playlist), Wright let slip a few intriguing — and slightly bizarre — details related to the production of his latest period piece. Most revelatory and interesting of all was the disclosure of the fact that this version of Anna Karenina would be shot in an experimental style, out of step with the sweeping, reality-grounded period piece many had come to expect. Instead, the film would be shot primarily on a single stage in a dilapidated, built-from-scratch theater constructed just outside of London. And, as opposed to exterior locations, toy trains and dollhouses will stand in for the outside world. The point of this experimental take, according to Wright, is to better reflect what he sees as the central treatise of the novel, “the search for the authentic life.” To that end, word is that the only character who travels outside of the stage setting will be Konstantin Levin (Domhnall Gleeson, True Grit), who is portrayed in the novel as a humanist, in touch with nature and the world at large.

Wright describes the sensation created by this stylistic decision thusly: “There is a fluid linearity. You can walk from one house under the ‘stage’ straight onto the horse training ground.” Similarly, producer Paul Webster lauds the technique, saying ”we are creating true cinema, this elastic universe. You can go through a door and you’ve even got a Russian landscape.”

Alongside this tantalizing news of a unique (but perhaps too literal) take on the material, Empire published a number of pictures from the production. They feature Keira Knightley as Anna, Aaron Johnson (Kick-Ass) as her lover, Count Vronsky, and Jude Law (lately of Sherlock Holmes) as her stolid husband Alexi.

So, with an unconventional narrative device comes fairly conventional looking costuming. Still, to me, as a fan of the book, the concept of approaching this material from this heightened point of view is rather intriguing. Given Wright‘s previous successes (The Soloist not withstanding) I am willing to give him the benefit of the doubt here.

What about you? Does this all strike you as an engaging way to dress up an old tale, or is it too clever by half?