When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting... See full summary »
Helena Bonham Carter,
The lives of two lovelorn spouses from separate marriages, a registered sex offender, and a disgraced ex-police officer intersect as they struggle to resist their vulnerabilities and temptations in suburban Connecticut.
A mute woman along with her young daughter, and her prized piano, are sent to 1850s New Zealand for an arranged marriage to a wealthy landowner, and she's soon lusted after by a local worker on the plantation.
Society scion Newland Archer is engaged to May Welland, but his well-ordered life is upset when he meets May's unconventional cousin, the Countess Olenska. At first, Newland becomes a defender of the Countess, whose separation from her abusive husband makes her a social outcast in the restrictive high society of late-19th Century New York, but he finds in her a companion spirit and they fall in love. Written by
Marg Baskin <firstname.lastname@example.org>
In the scene when Newland and May visit Mrs. Mingott after hearing of her stroke, as the servants carry her into the Drawing Room and set her down, a boom mic is visible at the to of the screen. See more »
I saw "The Aviator" a couple of days ago and while I still have Howard Hughes flying through my brain I felt the need to see again another Scorsese. I have all of his films in my collection. I closed my eyes and picked one, just like that, at random. "The Age Of Innocence" This is what happens with great artists, you can always re visit them and you'll come out of the experience with something new, something valuable. Transported by the sublime voice of Joanne Woodward I took the trip again to discover that everything in this extraordinary universe that Martin Scorsese, based on Edith Wharton work, is not what it appears. Conventions out of the window, breaking every imaginable rule. Just as the characters get off their trucks, swimming against the tide of the times. Scorsese breaks cinematic rules with such artistry that we're allow to inspect, re live and enjoy a story as old as the world from a completely new perspective. Is as if Luchino Visconti had suddenly woken up with a new contemporary sight to look back with. Daniel Day Lewis is so marvelous that the pain of his predicament becomes more than visual, becomes visceral. For Michelle Pfeiffer and Winona Ryder this was the zenith of their careers. They are sensational. The casting, as usual in a Scorsese film, is superb even in the smallest roles. Glimpses of Sian Phillips, Alexis Smith and Geraldine Chaplin add to the pleasures, making this overwhelming banquet of a film one of the most rewarding film experiences I've ever had.
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