Rating: 
Summary: Love, Loneliness and the Strictures of Society.
Review: Imagine living in a world where life is governed by intricate rituals; a world "balanced so precariously that its harmony [can] be shattered by a whisper" (Wharton); a world ruled by self-declared experts on form, propriety and family history - read: scandal -; where everything is labeled and yet, people are not; where in order not to disturb society's smooth surface nothing is ever expressed or even thought of directly, and where communication occurs almost exclusively by way of symbols, which are unknown to the outsider and, like any secret code, by their very encryption guarantee his or her permanent exclusion.Such, in faithful imitation of Victorian England, was the society of late 19th century upper class New York. Into this society returns, after having grown up and lived all her adult life in Europe, American-born Countess Ellen Olenska (Michelle Pfeiffer), after leaving a cruel and uncaring husband. She already causes scandal by the mere manner of her return; but not knowing the secret rituals of the society she has entered, she quickly brings herself further into disrepute by receiving an unmarried man, by being seen in the company of a man only tolerated by virtue of his financial success and his marriage to the daughter of one of this society's most respected families, by arriving late to a dinner in which she has expressly been included to rectify a prior general snub, by leaving a drawing room conversation to instead join a gentleman sitting by himself - and worst of all, by openly contemplating divorce, which will most certainly open up a whole Pandora's box of "oddities" and "unpleasantness": the strongest terms ever used to express moral disapproval in this particular social context. Soon Ellen, who hasn't seen such facades even in her husband's household, finds herself isolated and, wondering whether noone is ever interested in the truth, complains bitterly that "[t]he real loneliness here is living among all these kind people who only ask you to pretend." Ellen finds a kindred soul in attorney Newland Archer (Daniel Day-Lewis), her cousin May Welland's (Winona Ryder's) fiance, who secretly toys with a more liberal stance, while outwardly endorsing the value system of the society he lives in. Newland and Ellen fall in love - although not before he has advised her, on his employer's and May and Ellen's family's mandate, not to pursue her plans of divorce. As a result, Ellen becomes unreachable to him, and he flees into accelerating his wedding plans with May, who before he met Ellen in his eyes stood for everything that was good and noble about their society, whereas now he begins to see her as a shell whose interior he is reluctant to explore for fear of finding merely a kind of serene emptiness there; a woman whose seemingly dull, passive innocence grinds down every bit of roughness he wants to maintain about himself and who, as he realizes even before marrying her, will likely bury him alive under his own future. Then his passion for Ellen is rekindled by a meeting a year and a half after his wedding, and an emotional conflict they could hardly bear when he was not yet married escalates even further. And only when it is too late for all three of them he finds out that his wife had far more insight (and almost ruthless cleverness) than he had ever credited her with. Winner of the 1921 Pulitzer Prize and the first work of fiction written by a woman to be awarded that distinction, "The Age of Innocence" is one of Edith Wharton's most enduringly popular novels; the crown jewel among her subtly satirical descriptions of New York upper class society. Martin Scorsese reportedly lobbied hard to bring the novel to the screen under his direction; and what at first looks like an odd match for the director of "Goodfellas," "Mean Streets" and "Taxi Driver" turns out to be a masterpiece of understanding of the intricate workings of this world; a visual feast splendidly realized by cinematographer Michael Ballhaus and production and costume designers Dante Ferretti and (Oscar-winning) Gabriella Pescucci; reminiscent of a period tableau, where a dinner table's immaculate symmetry expresses society's outwardly perfect facade, a person's character is mirrored in the paintings they own, their house's interior decoration, the way they dress and the flowers they receive, and where, like in the novel, the protagonists' relationships are choreographed to coincide with the pivotal moments of the stage performances they attend, such as Charles Gounod's opera "Faust" and Dion Boucicault's play "The Shaughraun;" a rare feat of psychological insight into the novel's every character, from the three flawlessly portrayed principals (of whom only Winona Ryder won a Golden Globe and a National Board of Review Award, although all three of them would have been equally deserving) to the just as critical supporting roles, played by an all-star cast including Miriam Margolyes, who earned a BAFTA Award for her portrayal of unconventional society matriarch (nay, dowager-empress) Mrs. Manson Mingott, Richard E. Grant ("form" expert Larry Lefferts), Alec McCowen (scandalmonger Sillerton Jackson), Stuart Wilson and Mary Beth Hurt (disreputable financier Julius Beaufort and his wife Regina), Geraldine Chaplin (May's mother), Sian Phillips (Newland's mother), Michael Gough and Alexis Smith (society doyens Henry and Louisa van der Luyden), Robert Sean Leonard (Newland and May's son Ted), Jonathan Pryce (Olenski's secretary Riviere) and Norman Lloyd (Newland's senior law partner Letterblair). Scorsese's movie is sometimes criticized for its use of a narrator (Joanne Woodward). But Woodward's voiceovers not only capture Wharton's subtly ironic tone to absolute perfection; her narration also provides a gentle frame to a story which could easily become fractured otherwise; or in the alternative, would have to include countless scenes merely to establish a certain atmosphere and social context without significantly advancing the storyline. On the whole, this is an all-around exceptional production, remarkably faithful to the literary original, and absolutely on par with the best of Scorsese's other works.
Rating:
Summary: Splendid Adaptation of Wharton from Scorsese
Review: "The Age of Innocence" was Martin Scorsese's first effort at a period drama; in a sense, a cinematic prequel to his successful "Gangs of New York". It is often overlooked as one of his finest films, perhaps because the psychological tension so vividly depicted on screen isn't nearly as captivating as what he has accomplished in films such as "Taxi Driver", "Raging Bull", "Goodfellas", and of course, "Gangs of New York". But both he and his long-time collaborator, screenwriter Jay Cocks, have done a splendid job capturing the atmosphere of 1870s upper class New York City, ranging from the costumes to the fine - if somewhat muted - performances from the cast. Both Scorsese and Cocks have crafted a visual feast which is reminiscent of many Merchant-Ivory films.
Daniel Day Lewis is most impressive as Newland Archer, who conducts a secret romance with young May Welland, played by Winona Ryder, in a dignified performance that may leave some wondering whether the passion between May and Newland is absolutely real. Michelle Pfeiffer's performance of Countess Olenska, May's cousin, surprisingly also lacks some of the sexual sparks she had set off in her performance in "Dangerous Liaisons". Still, the cast performs credibly in this long, though faithful, adaptation of Edith Wharton's novel.
Rating: 
Summary: Innocence Lost
Review: As a huge fan of Martin Scorsese, I was always anxious to see this. Many people I know have criticized the film for being too long and too boring, and after seeing it, I can agree. I have not read the novel that this film was based off of, which apparently after reading some reviews here, I should have. Nevertheless, I shall review the film as is, without knowledge of the book, the way this medium should be reviewed.
Newland (Daniel Day-Lewis) is engaged to May (Winona Ryder), but has this increasing yearning to be with Ellen (Michelle Pfieffer), a recently divorced siren in the late 1800s. They constantly long for each other behind everyone's back, especially May's. In the midst of this basic story, the film sporatically comments on the societal complexities of this age in early New York, as well as morals and morality. The main problem I had with the film is the pacing of it. Tension needs to be built, and long periods of dialogue with no evident threat of being caught doesn't help. The film may be faithful to the book, but in the cinema world, this is not always a good idea.
Ryder as May is also sorely underused in the story. She seemingly randomly appears whenever it's convenient for the film to remind us that Newland is engaged to her. On the bright side, Day-Lewis, Pfieffer, Ryder, and the rest of the cast turn in pitch-perfect performances in their roles, and the costumes and settings look great, but all this can't help the fact that the film drags on too long.
Rating:
Summary: really boring
Review: I think you had to have read the book first to enjoy this movie. I searched for the big prize winning book within it and didn't find it. I was bored.
Rating:
Summary: The Age Of Innocence
Review: I have found the Age of Innocence, to be one of the most charming of all the Films which I have ever seen.
If I didn't know better, I'd have thought that the Film was a production of Merchant and Ivory.
All together, a Major Film!
Rating:
Summary: Manages to capture Wharton's NY perfectly
Review: Edith Wharton's "Age of Innocence" is about a world that no longer exists -- aristocratic New York, where a small circle of well-to-do families intermarried, gossiped, and went about the business of destroying each other, all the while maintaing the most exquisite civility. The story focuses on the ramifications when a Mingott "black sheep", Ellen Olenska, returns to town after a disastrous marriage to a cruel Polish count. Newland Archer is engaged to Ellen's cousin May, but finds himself drawn to the exotic, worldly Ellen. The unconsummated affair is a "secret" but like all secrets it is discovered, and New York society's response is swift, ruthless, and brutal.
Before Winona Ryder became notorious for a shoplifting incident, she was known as one of Hollywood's finest starlets. Her performance in Age of Innocence is proof that she was more talent than hype. She plays May Welland, an innocent schemer. If you've read Wharton's novel you know that May is the most ambiguous character -- what are her motives? Love? Status? Is she cold and calculated or a victim? Ryder, all doe-eyes and fluttery-voiced, manages to convey both May's strength and her ingenue appeal. There's a moment near the end of the movie when she looks up at her husband adoringly, tears in her eyes. Far from being heartwarming however, the moment will chill your bones.
Daniel Day Lewis and Michelle Pfeiffer are the clandestine lovers Newland and Ellen, and if I have a complaint about both their performances it's that they seem to be doing "costume drama" acting rather than real acting. Meaning they're so reverent of the source, and so eager to seem "refined" and "sensitive" that ironically their romance lacks heat, and their predicament lacks the quiet devastation that seeps out of every page in Wharton's novel. Pfeiffer's Ellen is too glum, a bit too self-pitying. Compare this to her genuinely vivacious, sexy performance in the other costume drama, Dangerous Liasons. There's a reason why Ellen Olenska causes a scandal -- she has to be sexy and alluring, with a sharp sense of humor. Pfeiffer's Ellen in my opinion is too much of a sadsack. Daniel Day Lewis is better as Newland, but there's a stiffness to his performance that makes Newland seem even more remote and like a cipher. Of course one could argue that he's exactly right for a buttoned-up, milquetoast NY gentleman. But I think it's a mistake to be too tasteful in costume dramas. This is Edith Wharton, where the manners may be exquisite but the emotions are big, and the actions brutal.
Martin Scorsese did a remarkable job translating the subtle social observations of Wharton onto the silver screen. From the flick of a fan to the clink of silverware, no detail esacpes his attention. He also remained remarkably faithful to the novel's storyline. It's a loving, reverent adaptation. Mostly however I think this movie will appeal most to lovers of Wharton's novel. READ THE NOVEL. And then see the movie.
Rating:
Summary: Love, Loneliness and the Strictures of Society.
Review: Imagine living in a world where life is governed by intricate rituals; a world "balanced so precariously that its harmony [can] be shattered by a whisper" (Wharton); a world ruled by self-declared experts on form, propriety and family history - read: scandal -; where everything is labeled and yet, people are not; where in order not to disturb society's smooth surface nothing is ever expressed or even thought of directly, and where communication occurs almost exclusively by way of symbols, which are unknown to the outsider and, like any secret code, by their very encryption guarantee his or her permanent exclusion. Such, in faithful imitation of Victorian England, was the society of late 19th century upper class New York. Into this society returns, after having grown up and lived all her adult life in Europe, American-born Countess Ellen Olenska (Michelle Pfeiffer), after leaving a cruel and uncaring husband. She already causes scandal by the mere manner of her return; but not knowing the secret rituals of the society she has entered, she quickly brings herself further into disrepute by receiving an unmarried man, by being seen in the company of a man only tolerated by virtue of his financial success and his marriage to the daughter of one of this society's most respected families, by arriving late to a dinner in which she has expressly been included to rectify a prior general snub, by leaving a drawing room conversation to instead join a gentleman sitting by himself - and worst of all, by openly contemplating divorce, which will most certainly open up a whole Pandora's box of "oddities" and "unpleasantness": the strongest terms ever used to express moral disapproval in this particular social context. Soon Ellen, who hasn't seen such facades even in her husband's household, finds herself isolated and, wondering whether noone is ever interested in the truth, complains bitterly that "[t]he real loneliness here is living among all these kind people who only ask you to pretend." Ellen finds a kindred soul in attorney Newland Archer (Daniel Day-Lewis), her cousin May Welland's (Winona Ryder's) fiance, who secretly toys with a more liberal stance, while outwardly endorsing the value system of the society he lives in. Newland and Ellen fall in love - although not before he has advised her, on his employer's and May and Ellen's family's mandate, not to pursue her plans of divorce. As a result, Ellen becomes unreachable to him, and he flees into accelerating his wedding plans with May, who before he met Ellen in his eyes stood for everything that was good and noble about their society, whereas now he begins to see her as a shell whose interior he is reluctant to explore for fear of finding merely a kind of serene emptiness there; a woman whose seemingly dull, passive innocence grinds down every bit of roughness he wants to maintain about himself and who, as he realizes even before marrying her, will likely bury him alive under his own future. Then his passion for Ellen is rekindled by a meeting a year and a half after his wedding, and an emotional conflict they could hardly bear when he was not yet married escalates even further. And only when it is too late for all three of them he finds out that his wife had far more insight (and almost ruthless cleverness) than he had ever credited her with. Winner of the 1921 Pulitzer Prize and the first work of fiction written by a woman to be awarded that distinction, "The Age of Innocence" is one of Edith Wharton's most enduringly popular novels; the crown jewel among her subtly satirical descriptions of New York upper class society. Martin Scorsese reportedly lobbied hard to bring the novel to the screen under his direction; and what at first looks like an odd match for the director of "Goodfellas," "Mean Streets" and "Taxi Driver" turns out to be a masterpiece of understanding of the intricate workings of this world; a visual feast splendidly realized by cinematographer Michael Ballhaus and production and costume designers Dante Ferretti and (Oscar-winning) Gabriella Pescucci; reminiscent of a period tableau, where a dinner table's immaculate symmetry expresses society's outwardly perfect facade, a person's character is mirrored in the paintings they own, their house's interior decoration, the way they dress and the flowers they receive, and where, like in the novel, the protagonists' relationships are choreographed to coincide with the pivotal moments of the stage performances they attend, such as Charles Gounod's opera "Faust" and Dion Boucicault's play "The Shaughraun;" a rare feat of psychological insight into the novel's every character, from the three flawlessly portrayed principals (of whom only Winona Ryder won a Golden Globe and a National Board of Review Award, although all three of them would have been equally deserving) to the just as critical supporting roles, played by an all-star cast including Miriam Margolyes, who earned a BAFTA Award for her portrayal of unconventional society matriarch (nay, dowager-empress) Mrs. Manson Mingott, Richard E. Grant ("form" expert Larry Lefferts), Alec McCowen (scandalmonger Sillerton Jackson), Stuart Wilson and Mary Beth Hurt (disreputable financier Julius Beaufort and his wife Regina), Geraldine Chaplin (May's mother), Sian Phillips (Newland's mother), Michael Gough and Alexis Smith (society doyens Henry and Louisa van der Luyden), Robert Sean Leonard (Newland and May's son Ted), Jonathan Pryce (Olenski's secretary Riviere) and Norman Lloyd (Newland's senior law partner Letterblair). Scorsese's movie is sometimes criticized for its use of a narrator (Joanne Woodward). But Woodward's voiceovers not only capture Wharton's subtly ironic tone to absolute perfection; her narration also provides a gentle frame to a story which could easily become fractured otherwise; or in the alternative, would have to include countless scenes merely to establish a certain atmosphere and social context without significantly advancing the storyline. On the whole, this is an all-around exceptional production, remarkably faithful to the literary original, and absolutely on par with the best of Scorsese's other works.
Rating:
Summary: A Masterpiece
Review: I can't believe that no one has reviewed this film. Everything about it is magnificent - the story, directing, cinematography, acting, sound. Scorsese is America's best director, and this may be his best film. Truly a masterpiece.
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