1993 Directed by Martin Scorsese
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.
Daniel Day-Lewis Michelle Pfeiffer Winona Ryder Alexis Smith Geraldine Chaplin Jonathan Pryce Linda Faye Farkas Michael Rees Davis Terry Cook Jon Garrison Richard E. Grant Alec McCowen Mary Beth Hurt Stuart Wilson Howard Erskine John McLoughlin Christopher Nilsson Miriam Margolyes Siân Phillips Carolyn Farina Michael Gough Joanne Woodward Robert Sean Leonard June Squibb Thomas Gibson Tracey Ellis Norman Lloyd Martin Scorsese Catherine Scorsese Show All…
La edad de la inocencia, Le Temps de l'innocence, L'età dell'innocenza, 순수의 시대, A Época da Inocência, Zeit der Unschuld, A Idade da Inocência, 純真年代(1993), Oskuldens tid, エイジ・オブ・イノセンス／汚れなき情事
Moving relationship stories Epic history and literature historical, royalty, sumptuous, lavish or drama marriage, emotion, romance, feelings or relationships emotion, emotional, moving, feelings or sadness marriage, drama, family, emotional or emotion romance, charming, comedy, delightful or witty Show All…
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
I docked a half star for this movie not being able to predict how nicely Daniel Day-Lewis would age
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...
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!
martin scorsese getting mainly known for his gangster movies and then directing daniel day-lewis in a period romance adaptation about a man who cries at plays and takes comfort in his monthly shipment of books... THE RANGE
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.
"The taste of the usual was like cinders in his mouth."
Late in the movie the narrator says "It was the room in which most of the real things of his life had happened." Emphasis mine; the film goes on to describe Archer's future, one he'd previously thought might be escapable, rather than set it as a reflection on his past.
