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,
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 <email@example.com>
Director Martin Scorsese had said that this is the "most violent" film he's ever made, an obvious reference to the emotional versus physical states of being. Ironically, for a director who is well known for over-the-top violent fare like Taxi Driver (1976) and Goodfellas (1990), this film happens to be Scorsese's first to earn a "PG rating" since New York, New York (1977). See more »
When Newland is sitting outside Ellen's apartment waiting for his son, the butler closes the window. As he does so, the window catches the bright sun several times and is reflected on Newland's face. As he walks away, the sun is obviously (by shadows) coming from the opposite direction thus it would be impossible for it to be reflected by the window. See more »
I actually saw this movie when it was released in 1993, and honestly it was pretty dull then. Of course I was 22, and the workings of that late-1800's New York society really didn't make much sense or have much relevance.
I think the film may have been ignored at its release because of the slew of other "period pieces" which were so popular (an eventually common) in the late 80's/early 90's... But watching it again 10 years later, this film is anything but common.
The true intensity is Scorcese's detached presentation of a hypocritical & hateful society which holds its members as prisoners.
Not to mention impeccable art direction & beautiful cinematography by the legendary Michael Ballhaus. The film looks as impressionistic as the paintings that line the walls of the characters' homes.
Scorsese is always acute in his casting decisions, and this is one of the films many virtues:
Lewis is perfect as a man who's struggle between his passion & his duty are constantly on the verge of devouring him (yet somehow he thrives on his torture).
Ryder is the seemingly innocent & naive girl who is completely manipulative & cunning underneath her exterior (gee, who would have thought?!) -- notice the arching scene.
In a sense, this was one of Pfeiffer's defining roles. Pfeiffer herself (in a sense) is an "outcast" who has never truly been accepted as a "serious" actress by her peers in the acting community. Watching this film again, it amazes me how this role somehow reflects her personal position in the current social structure of Hollywood, similar to her character existing in 1800's New York society.
What an amazing pic. I completely "missed it" the first time around. Great observance of "high society." Many of those codes are strangely applicable today.
Not recommended for those who like fast paced movies, or those who are looking for the "usual Scorcese." I would couple this with "Last Temptation of Christ" as Scorsese's most brave, artistic, demanding & abstract films to date.
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