All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The Age of Innocence
In a world of tradition. In an age of innocence. They dared to break the rules.
Tale of 19th century New York high society in which a young lawyer falls in love with a woman separated from her husband, while he is engaged to the woman's cousin.
Rewatch confirms what I've suspected for awhile: this is Martin Scorsese's very best movie . . . poor Newland Archer, always thinking he's the smartest person in the room when in fact he's the dumbest . . . and what rooms, those sweeping tracking shots, rooms cluttered with objects, the conspicuous wealth of the 1870s, generated on the backs of the wholly absent poor . . . a world of unimaginable riches and power, so seductive, its occupants entirely unaware of its exceptionality: a simple matter of fact that their universe is the way it is because they are destined to lead it, their system of unexpressed rules governing their every motion . . . Archer thinks he understands it,…
quite obviously scorsese's best movie, and i can't help but wonder with a twinge of regret what my life might have been like if i'd watched this hundreds of times instead of goodfellas & casino...
Film #30 of Project 90
”How can we be happy behind the backs of people who trust us?”
The Age of Innocence shows the kind of glory and emotional strength that you normally expect to see in a Max Ophuls film. Here Martin Scorsese embraces an elaborate style of film-making reminiscent of the sparkling and riveting movies of the classic era, a calm and controlled pace, a story filled with regret, passion, complicated love affairs and characters who are unable to challenge and resist what fate brings upon them. The whole story, the characters and the events may look uncharacteristic of Martin Scorsese but even here and in the midst of the glittering decors and colorful costumes you can see…
Top five Scorsese for me easily. Will write about it at length at some point. Er... somewhere.
The reason it's hard to feel bad for anyone in this situation is because they (and by they, I refer to anyone in Archer's situation, that is, being a rich person bound by society's expectations) are not actually bound at all. It's their own greed and love of power and privilege that keeps them from attaining happiness, and it's that same love that makes them view it as some thing to be attained.
The moments in this that emphasize this most are moments of contrast, specifically, the first discussion Archer has with the Countess about divorce, wherein it becomes clear how unjust her situation is. What he would have to give up to be happy with her, what he would…
Where the key to Scorsese is revealed - he is not a combination of Ford and Powell/Pressburger, but rather Raoul Walsh and Max Ophuls.
Scorsese seems to desperately want this to be his Senso, but at best it seems to be his Ludwig. It's a handsome film which doesn't embarrass itself, but ultimately feels like a lost opportunity parading a list of artistic insecurities through the material. The production design is delicious and the cinematography breathes history in the best sort of way. That aside all of the aesthetic tricks, particularly the montages, are overly film school distracting from a story that has enough to it to succeed by itself. Perhaps had James Ivory or Frears taken this tale with this cast and crew things may have worked better, but they wouldn't be the sort of directors to impose things as silly and out…
Martin Scorsese's adaption of Edith Wharton's novel 'The Age of Innocence' from 1920 takes us to New York's high-society of the late 19th century.
“The real loneliness is living among all these kind people who only ask one to pretend!”
I’ve watched more costume dramas in the past than I’d like to admit but rarely was I more disgusted by the stilted and hollow upper-class behavior full of gossip, arrogance and prejudice. The plot revolves around the young and respected lawyer Newland Archer (Daniel Day-Lewis), whose engagement to the frankly very dull May Welland (Winona Ryder) embodies a custom of alliances between wealthy and reputable families , and whose attraction to her freshly to-be-divorced cousin, gorgeous Countess Olenska (Michelle Pfeiffer)…
Watched the film adaptation of Edith Wharton's 'The Age of Innocence' directed by Martin Scorsese. I love Martin Scorsese's movies. He is more well known for his gangsterish movies and others closer in theme to them. This is a very different Scorsese movie though because he has adapted a classic, a very unique film in his repertoire.
The basic story is this. The time is 1870s New York. Newland Archer is a young lawyer who is engaged to May Welland. Both of them are happy. And then a third person walks into the scene. It is May's cousin Ellen. Ellen is married to a count in Europe and so she is Countess Olenska. Ellen has been away for a long…
The quiet spider
Weaves its terrifying webs.
A dream and life - caught.
The best film Scorsese has yet made, and the one that most hints that he still has a lot left to offer audiences. Consider, for example, the central theme, which to my eyes seems to be the notion that artifice is at once comforting and cloistering. The meticulous design work used to achieve the film is at once a breathtaking display of spectacle and an almost Fassbinderian oppressive force. Scorsese, as always, is obsessed here with the act of seeing, and he references numerous films throughout (with the Visconti epics topping the list as most prominent), but instead of his usual reverence, the act almost feels like self-critique. Like the fashion obsessions and hand fetishes that he observes among the…
Atypical Scorsese, but also wonderful Edith Wharton.
So it turns out I have a new favorite Scorsese movie. Amazing to see his kinetic technique applied to the staid period piece, revelatory to see his themes emerge without the genre conventions and violence that normally facilitate questions of loyalty, passion and self-sacrifice.
For some reason I had in my head that this wasn't gonna be great. Man I loved it though. Scorsese is just so fun to watch. This was an interesting setting for his style to be used in. I liked it. Great performances from the leads.
The introduction for this repeated that popular line about how crazy it is that Scorsese made this costume drama about romance and stuff in the middle of his early 90s run. Unsurprisingly, that's reductive as hell because he's a perfect fit for the material. Few filmmakers can burrow into blinkered off male perspectives as thoroughly as he does. That he takes this opportunity to go Visconti/Powell & Pressburger with some of his most ornate imagery/form is icing on the cake (when the room tone disappears during that conversation on the balcony... mmmm). Lots of visual strategies here made me think of Desplechin (the way his camera moves, the irises and "reading to the camera" scenes), though that also may just be shared influence. Near peak Marty.
Movies that have such a powerful/memorable/weird/insane/awesome/surprising last scene (or shot) that made you say "THAT ENDING!!!!!" or variations
Every film that has ever been nominated for an Academy Award in any category. Enjoy!