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...

i want daniel day lewis to unbutton my glove

98

Stages of entrapment - Newland Archer only feels "free" when he recognizes the sweltering societal prison suffocating him, but even though the rules are known, there is no ambition to break them, because that would mean 'breaking the rules.' Archer cannot do that. He has too much to lose. His pampered, rigid place in the system is more important than passion and a fleeting sense of self-satisfaction, conveyed by those half-coveted/half-dreaded quick glances and stares. Scorsese presents what being acknowledged in this time and place was like, and fully realizes both the pointlessness of the grandeur and the terror of the loss of that sweet nothing. The aching coda grants a final memory to be re-lived, soaked up by the afternoon sun; one that represents distance more than anything. The Age of Innocence bleeds like a broken heart. Alas, the heart wasn't even adequately fulfilled so that it could be ruined. Archer missed that too.

I wanted to LOVE this but just never got that invested. I can really appreciate the performances and some of the writing but it was just not my thang for a good portion of it’s runtime. Sorry to the Age of Innocence fandom!

nice reminder that daniel day lewis was young once. evidently he did not pop out the womb looking full woodcock

i'm sorry but i can't rate this because i was too distracted by how much daniel day-lewis's voice in this sounds like michael fassbender's

I docked a half star for this movie not being able to predict how nicely Daniel Day-Lewis would age

Funny to think of a bunch of guidos still high off Goodfellas going to see this together and being like “da fuck was Marty thinking?!” but one of them secretly weeps in the bathroom of the pizzeria they hit up later

A curious mirror image of Taxi Driver, one where the protagonist's unhappiness actually can be blamed on society rather than his own miserable psychosis. Scorsese has a long list of formally sublime works, but even among his own canon the technical force of this film is immense. Every movement runs in direct opposition to the controlled motion of the characters, reflecting the human passions and uncontrollable desires that roil beneath the surface. Dissolves feel like acid burning through flesh, and rapid interlays of close-ups capture the way that characters swiftly home in on things from social outcasts in a public setting to aching reminders of longing in private. An agonizing film, one that trembles with so much suppressed passion that the lack of any cathartic explosion makes it unbearable.

Top-five Scorsese. I'll always marvel at how faithful this adaptation is to Wharton's novel—not only does it follow the action, but Joanne Woodward is actually reading directly from the text—yet feels wholly a Scorsese film. He makes great gangster films.

martin scorsese here are my keys go fuck my wife‬

is daniel day-lewis ok? he was crying a lot

Maldito Scorsese lo único qué haces es enamorarme

archer, bro, u are not the smartest man in the room. in fact, dare i say, u are a little pathetic but admirably so

I can't love you unless I give you up.

I wish I could write a complex and professional review about this one but there are no words that can describe how much I love this movie and all the sentimental value I have for it. It touched me in a way that I never thought was possible. I can only say thank you Edith Wharton, thank you Scorsese, thank you all.

"I want to get away with you and find a world where words like that don't exist..." <3

Não raro morro de preguiça dessas adaptações de época, sempre focadas numa aristocracia desumana, pomposa, exalando arrogância e tão repleta de códigos e moral tão superficialmente podre que, ok, admito aqui a relevância em se explorar todas essas nuances. Pra quem almeja tanto a perfeição, as falhas eram abundantes e óbvias. Digresso. Scorsese trata o caso de amor correspondido porém praticamente impossível de se consumar com maestria e sensibilidade. Dançar pela hipocrisia e falhas dessa aristocracia se torna um prazer na condução de Daniel Day-Lewis, Michelle Pfeiffer e Winona Ryder, todos brilhantes em seus papéis. Longe de seu território mais confortável, o diretor se propõe um desafio e triunfa magistralmente, ao ponto de quem não se emocionar na cena final possivelmente já está morto por dentro.

Arguably one of Martin Scorsese's best films.

We all live in a kind of hieroglyphic world. We never express what we really think or believe in. We just use some arbitrary signs to represent those ideas and thoughts. That's something we all do.

According to Scorsese, The Age of Innocence is his most violent film. Yes, the director of many artistic, over-the-top violent films like, Taxi Driver, Goodfellas and Casino said that. Then how so? Well, it gotta be. When you notice the struggle between the characters' physical and emotional selves, you know it IS violent. The way they are repressing themselves and their deepest desires to fit into society's 'decorum' is brutal.

It’s painful to watch it on screen. But who are we kidding? Isn’t that we all do? Don’t we all try to blend in sometimes? Well, Newland Archer is in every one of us, to a certain extent.

JUST FUCK ALREADY: the movie

when a very ugly dog is the highlight of a two-hour movie, you have a problem, my fren

the boyfriend and i were almost blinded multiple times by terrible flashes of light, baffled by terrible editing, and shocked by the innate pace of this movie. the ending, scorcees. this is adapting a old novel: the wrong way.

that dog, though

This review may contain spoilers. I can handle the truth.

i can see why anyone would say this is one of the best scorsese films and i can appreciate its quality but i personally found it hard to stay interested in the plot

84

One of the better period romances Ive seen.

Interesting production.