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 »
Beaufort may not receive invitations anymore, but it's clear he maintains a certain position.
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The Columbia logo turns sepia to look like a 19th-century photograph. See more »
Not being a particular fan of Edith Wharton, I was in no hurry to see this movie, but wanted to see what Scorsese & Day-Lewis did with it. I was absolutely floored! I think that, cinematically, it is the best picture Scorsese's done since Raging Bull. Beautiful & brilliant. I even thought that some scenes, particularly the dinners, were slightly reminiscent of Kubrick.
I thought Michelle Pfeiffer was absolutely superb. I don't follow her work much, but of what I do know, I find this to be her best - and most serious - performance to date. I was somewhat disappointed in Daniel Day-Lewis who I otherwise love to watch. I felt his performance was uneven. When he was "on", he was on, but at times his performance was stilted and even melodramatic which jarred his credibility. Wynona did a terrific job of portraying covert deviousness with a blank and/or airhead facade.
But what shone above all the acting was Scorsese's paintbrush. I'm so happy to see that he's still got it in him.
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