THE AGE OF INNOCENCE
A film by Martin Scorsese
Starring: Daniel Day-Lewis, Winona Ryder, and Michelle Pfeiffer
Written by Jay Cocks and Martin Scorsese
Based on the novel by Edith Wharton
Martin Scorsese's triumphant adaptation of Edith Wharton's THE AGE OF INNOCENCE is a stunning film for the quintessential New York filmmaker, the man who brought the streets of TAXI DRIVER and MEAN STREETS to life. It seems like an odd choice for Scorsese to do a period piece in the early 1900's, but the fact that he pulls it off so brilliantly is a wonder, and a testament to the greatness of Scorsese as a filmmaker. This is a gorgeous visual experience that it surely one of Scorsese's finest.
Newland Archer (Day-Lewis) is a prestigious lawyer who is engaged to May Welland (Ryder), a somewhat empty and shallow New Yorker, who belongs to a prestigious family and is quite beautiful. The marriage is one which will unite two very prestigious families, in a society where nothing is more important than the opinions of others. On the day that Archer is to announce his engagement to May, Countess Ellen Olenska (Pfeiffer), cousin of May, walks into Archer's life. Archer is immediately captivated, and finds himself in love with Ellen. Archer is also bound by the limits of New York society, which is an intrusive as any other in the world. Archer finds himself having a secret love affair in his mind with Countess Olenska, attempting to keep her in his mind while trying not to lose his social status.
The film's subject matter may seem alien to Scorsese, but the theme is definitely not. It is a theme of forbidden romance, guilty pleasures, and the consequences causes because of those actions. There is a painstakingly flawed hero, and his choice between the life he wants, and the life he is destined for. In truth, it is a film about a society the audience doesn't know about, but wants to find out more, much like the society of GOODFELLAS or even KUNDUN.
The performances are absolutely breathtaking. Day-Lewis portrays more mental anguish in his face than one man should be forced to take. Pfeiffer is marvelous as Countess Olenska, a mix of passion and beauty that the audience would die for as well. Ryder is probably the gem of the group, for it is her quiet presence that overwhelms the plot, and slowly pushes Day-Lewis closer and closer to his eventual ending. The supporting cast is also wonderful, with several characters so singular that they are indelible in one's memory.
Scorsese definitely has a passion for filmmaking. His lavish and sumptuous set design and marvelous recreation of New York is a wondrous sight. He literally transports the viewer to another world with incredible imagery. His script is also excellent, slow in buildup, with a rapid conclusion and a fantastic ending that has to be seen to be believed. It is difficult to make a period piece gripping: Scorsese, however, does it beautifully. The famous cameras of the legendary director are also everywhere. He is patient, but he films everything and anything remotely important. The cameras sweep, pan, track, and do more than they've ever done, but they are so subtle, one doesn't realize he's watching all the Scorsese hallmarks until a 2nd viewing. The central tracking shot is probably longer and more complex than the famous GOODFELLAS shot, but the viewer doesn't notice it, because we want to see more of this gorgeous world. There are a few deft touches of filmmaking that are simply outstanding, and Joanne Woodward' narration is exquisite. Not a fast film like GOODFELLAS, this shares more in common with KUNDUN than anything else. And like KUNDUN, this is a slow-starting film that truly shines, when given the chance to fully breathe and bloom in the end. A beautiful film by a director continuing to challenge himself year after year.
RATING: ***1/2 out of ****
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