Perhaps the reason Martin Scorsese hasn’t
brought home an Oscar for directing yet is because we are
constantly treated to very good movies from him. Scorsese
has raised his own bar so high that our expectations of his
work are too great. Over the course of his career, he’s
made some monumental movies as well as a group that are simply  very
good. I think that since we are so used to his quality films,
perhaps we are a little jaded and don’t recognize the
true beauty in some of his less popular or recognized films
The Age of Innocence fits into
that category of disconnect within the popular perception
of Scorsese’s filmography. Based on the Edith Wharton
novel of the same name, the movie is an examination of our
desires, and the lengths that we sometimes are, and are not,
willing to go to fulfill them. Set in 1870’s New York,
the movie is framed inside the social circle of the wealthy
and elite in society. The rules and decorum of the time period
are staggering, and Scorsese uses pacing within the film to
demonstrate this. No scene is rushed. No delivery too quick.
Everything is deliberate and calculated, as the effects of
even the smallest mis-step can mean social disgrace.
Newland Archer (Daniel Day Lewis)
is a lawyer and member of the social elite. Good mannered,
he is engaged to May Welland (Winona Ryder).
His world is upset when May’s cousin, the Countess Ellen
Olenska (Michelle Pfeiffer), returns
from Europe amid the scandal of leaving her husband. Both
Ellen and Newland knew each other as children, and during
different parts of the movie it’s made clear that there
has always been an innocent mutual attraction, which neither
person was ever able to act upon due to circumstances.
 Newland
and May are able to get their engagement to be short, because
of Newland’s attraction to Ellen. Throughout the film,
he stays torn between passion and duty- his love for Ellen,
strong, intense and forbidden, and his commitment to May.
Daniel Day Lewis is breathless as Archer. His reserved torture
is a slow burn- he almost seems to enjoy the pain that Ellen
brings on her arrival. His mannerisms and facial expressions
are all so calculated and perfect for the part.
Pfeiffer is also outstanding. She is the glue to it all-
with her you can understand the frustration of Archer- that
if only things were different or the rules of society did
not exist, they could be together. That fact required Pfeiffer
to be an entirely different type of woman than the others
in the picture, while at the same time not becoming too outrageous
or unusual. She straddles the worlds of the independent outcast
and society woman here brilliantly.
The episodes all look and sound terrific. It’s
nice to be able to see them in widescreen since I don’t
believe they are broadcast as such, or since I don’t
have a widescreen TV, if they are I don’t get to see
them.
The cat and mouse game that Newland and Ellen play is fascinating.
Through most of the first half of the film, we get the impression
that May is completely oblivious to the events surrounding
her. By the end of the film, we find that May was more involved
in the direction of events than we originally thought. For
the last quarter of the film it becomes much more of a triangle
between the three rather than a simple love affair.
 The
ending I found to be a little… ‘off.’ Newland’s
reactions while in Paris seem confusing to me. I won’t
go into details, so as to keep the movie fresh for those who
have not seen it, but I felt that Newland would have pursued
his heart’s desire; that at the point in life he was
at, he might actually be able to give up his devotion to duty
and live as he wished.
The movie stands head and shoulders above The House of Mirth,
another Wharton novel, because of these fantastic performances.
All three characters are subtle and calculating. Each holds
their cards so close to their vest that sometimes you don’t
see all the interactions until after a scene has played itself
out, as you are further down the story. House of Mirth did
not have that and felt flat to me.
Video
The movie, as presented on DVD, leaves
a little to be desired. It is not the best transfer I have
ever seen. It is not as crystal clear as I am accustomed to
with DVDs. There are several places where grain and other
problems appear. Were it an older movie, I would be able to
abide by this, but considering the movie is only just over
a decade old, it should have had a better transfer.
Features
In addition this is about as bare-bones
as a disc can get and still claim to have “special features.”
There are multiple subtitle tracks, which is nice, but the
features themselves are limited to filmographies of the three
main actors and Scorsese. There is also a section for trailers: The Age of Innocence and 3 others
(Sense and Sensibility, Brahm
Stroker’s Dracula and Ghandi).
There is no other information or any documentaries, which
is a shame because I think it would have been interesting
to hear from the director and actors on the making of the
film. I would have loved more info on what made Scorsese take
on this type of film, a period piece, after the films he had
been working on in the late 80’s.
Parting Thoughts
I
can’t help but wonder based on the recent release of the
two Scorsese box sets if perhaps another one, including this
movie, might not be around the corner. I think it certainly
deserves a Special Edition treatment. Overall, it’s a
release that only real fans of the film or Martin Scorsese will
want to own.
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