THE AGE OF INNOCENCE
A film review by James Berardinelli
Copyright 1993 James Berardinelli
Rating (Linear 0 to 10): 9.4
Date Released: 9/17/93 (Limited); 9/24/93 (General) Running Length: 2:13 Rated: PG (Mature themes)
Starring: Daniel Day-Lewis, Winona Ryder, Michelle Pfeiffer, Miriam Margoyles, Richard E. Grant, Geraldine Chaplin Director: Martin Scorsese Producer: Barbara De Fina Screenplay: Martin Scorsese and Jay Cocks, based on the novel by Edith Wharton Music: Elmer Bernstein Released by Columbia Pictures
It's New York City in the 1870s, a society ruled by expectations and propriety, where a hint of immorality can bring scandal and ruin. This is an America every bit as Victorian as her contemporary England. Into this world arrives Countess Ellen Olenska (Michelle Pfeiffer), a woman who has spent much of her life in Europe and is now escaping from a disastrous marriage. Her initial adult meeting with Newland Archer (Daniel Day-Lewis) is sedate--he is engaged to her cousin May (Winona Ryder)--but there is a subtle fire smouldering from the first glance. From that point on, Archer's dilemma becomes painfully clear--proceed with what society deems proper and marry the rather vapid May, or allow his heart and passions to carry him far from the realm of what is conventionally acceptable.
I rarely discuss the Oscar potential of a film, the Academy being notably fickle, but THE AGE OF INNOCENCE is ripe for not only a best picture nomination, but perhaps the award itself. It's difficult to say, considering the possible contenders (REMAINS OF THE DAY, for example, isn't out yet, and MUCH ADO ABOUT NOTHING shouldn't lightly be ignored), but this movie certainly has to be in the running.
Martin Scorsese has made a reputation out of making movies that show a profound perceptiveness of human nature through their images of toughness and violence. On the surface, one would be hard-pressed to find a story more unlike RAGING BULL and GOODFELLAS than THE AGE OF INNOCENCE, which seems better suited to a Merchant-Ivory production. However, Scorsese has placed his indelible stamp on this picture, not only through the camerawork, but in the potent tension that builds between the three complex main characters. For while blood has often been Scorsese's method, the characters, and what exists between and within them, have always been his ends.
THE AGE OF INNOCENCE is a sumptuous motion picture, a feast for the senses. The colors are vivid, from the red and yellow of roses to the flashes of crimson and white that transition scenes. The powerful score moves along with the story, in perfect counterpoint to the visuals--never intrusive, but always effective. The scenes of artfully-prepared meals are enough to make mouths water, and it's almost possible to smell the pungent aroma of cigars. In these elements of the film, Scorsese was ably assisted by contributions from composer Elmer Bernstein and cinematographer Michael Ballhaus.
Even had the story been a throw-away, this movie would have been worth seeing simply for its splendor. The set design and costumes are flawless, and the audience is legitimately transported to the nineteenth- century (through the help of Troy, NY, where the principal filming was done, and the Philadelphia Academy of Music, which doubled as a New York opera house). This is not some mere token attempt to conjure up images of times past; Scorsese has put so much effort into the illusion that those who didn't know better would be willing to swear that he had discovered a time capsule.
There are so many memorable images in this film that it's tough to pick out a few, but three stood out most prominently for me: the Saul Bass opening credits with their unfolding flowers; a panoramic view of a snowy New York in the 1870s; and a long, lingering shot of a lighthouse, a sailboat, and Michelle Pfeiffer in silhouette.
Of course, there is a story, and an impressive one at that. All the action is character-driven, and there's very little to satisfy those who demand a fast-paced picture, but the currents of THE AGE OF INNOCENCE run deep and dangerous. The movie eschews the formulas of Hollywood and succeeds brilliantly on its own merits.
Adapting from the 1921 Pulitzer Prize-winning novel by Edith Wharton (who also wrote ETHAN FROME, a similar story of love and loss, which reached American screens earlier this year), Martin Scorsese and Jay Cocks have managed to successfully incorporate the complex conflict of emotion against societal pressures which lies at the heart of THE AGE OF INNOCENCE. Those watching the movie will understand that it is no easy task to resurrect a code of behavior long dead and buried.
Each of the actors, whether their parts are major or minor, deserves praise aplenty. There isn't a single instance of overacting in this film, every role being carried out with unrivaled aplomb. Even those with decidedly limited screen time, such as Jonathan Pryce and Robert Sean Leonard, manage to make an impact--and that's not an easy task considering the puissance of the main three performances.
Daniel Day-Lewis never fails to impress, even when he appears in a poor film. For the most part, however, he has chosen good roles, and his presence in a movie often lifts the production to another level. Would LAST OF THE MOHICANS have been as stunning without him? Would MY LEFT FOOT have been as poignant?
Day-Lewis immerses himself in the character of Newland Archer, and it's no great stretch for the audience to accept him. This is not merely a good performance--it's an unforgettable one. Yet even considering what Day-Lewis has done, he does not upstage either of his leading ladies--at least not too often.
I have never subscribed to the widely-held belief that Michelle Pfeiffer is a ravishing beauty. In fact, in THE AGE OF INNOCENCE, she looks rather plain (an impression that, in my opinion, heightened the impact of the story). Ellen is exotic, certainly, but beautiful? Nevertheless, there is no denying the stirring, heartfelt passion of Ms. Pfeiffer's performance. Outstripping anything she has done in the past, the role of Ellen can truly be considered a pinnacle.
Winona Ryder isn't as good, but that's nothing to be ashamed of. This is a far better actress than the one we saw in DRACULA. There's no wringing of hands, no tears, and--most thankfully of all--no instances of going over-the-top. Ms. Ryder's May is quiet, demure, and easily relegated to the background--just as she should be.
Often, voiceovers detract mightily from a motion picture, but Joanne Woodward's narration of THE AGE OF INNOCENCE serves only to increase the viewer's enjoyment of the film. It's appropriately placed, perfectly worded, and reveals subtleties that the visual medium cannot easily convey. Instead of standing out, Ms. Woodward's speeches blend seamlessly in.
There are few films this year that I recommend as heartily as THE AGE OF INNOCENCE, which has the rare distinction of being more of a cinematic experience than a simple movie. Something that transcends the medium like this shouldn't be set aside for viewing on the small screen. For those who expect more from their films that a lot of bangs and flashes, THE AGE OF INNOCENCE is not to be missed.
- James Berardinelli (blake7@cc.bellcore.com)
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