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 kindred spirit and they fall in love.Written by
Marg Baskin <email@example.com>
Martin Scorsese and Daniel Day-Lewis first film together. See more »
When the grandmother tells Newland and May that a marble likeness of her hands was sculpted by a famous artist, you hear her say the name of the artist, but her lips look as though they've said something completely different. See more »
Annie made me swear to do three things in Paris: get her the score of the latest Debussy songs, go to the Grand Guignol, and see Madam Olenska.
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The Columbia logo turns sepia to look like a 19th-century photograph. 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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