REVIEW: Forget Goodfellas, Gangs of New York or Raging Bull, this is what Martin Scorsese himself calls the “most violent” film he’s ever made.
But in The Age of Innocence (now available to stream on TVNZ+) there are no guns, hand-to-hand brawls or deadly knife attacks, just deception, double plays – and devastating notes.
Set 30 years ago in 1870s New York, this period drama is a masterclass in world-building, costumes and production design, and should be the perfect taster for those eagerly awaiting the upcoming second season of the series of the same name. series “The Gilded Age”. (out on Neon and Sky Go October 30) and Scorsese’s latest intimate epic Killers of the Flower Moon (out in Kiwi cinemas October 19).
Based on Edith Wharton’s 1920 novel, the film had already been adapted twice (in 1924 and 1934) by the time Scorsese’s frequent collaborator Jay Cox handed him a copy of the book in 1980. Apparently, it took the director seven years to finally get around to reading.
It’s essentially the story of lawyer Newland Archer (Daniel Day-Lewis, who, in typical “method” fashion, spent two weeks before filming began to “live” his character at the Big Apple’s Plaza Hotel).
Known for his courtship to May Welland (Winona Ryder), he gallantly offers to announce their engagement at the annual opera party to divert attention from the return of her cousin Ellen Olenska (Michelle Pfeiffer), who is fleeing a failed and disastrous marriage to a Polish count. .
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Winona Ryder stars alongside Daniel Day-Lewis in The Age of Innocence.
But when Ellen remembers how Newland once tried to kiss her when they were both much younger, Newland becomes increasingly obsessed with her free-spirited nature and desire to challenge conformity.
Despite the obvious warning of a fall from grace and the gossip surrounding notorious womanizer Julius Beaufort (Stuart Wilson), Newland continues to push for Ellen’s reintegration into New York society, despite her extended family preferring her to “fix” her relationship and headed back to Europe.
He also confesses his affection for Ellen, although she is more hesitant and conflicted, lest it ruin her cousin.
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Other actors may have had more important moments, but it is Ryder’s May who is the MVP of The Age of Innocence.
A film of stolen moments, orchestrated meetings and outright lies, The Age of Innocence is potentially nothing at all what its title suggests.
What’s appealing about the film is that the characters are not quite what they seem. In some ways, it’s like an 1870s version of film noir, where our “hero” is in love with a femme fatale and takes more and more risks to be with her.
But while Day-Lewis is fantastic in bringing to life Newland’s increasingly fractured loyalties (between his heart and his head), and Pfeiffer is great and appropriately appealing as the “exotic” Ellen, it’s really Ryder’s May who is the underrated MVP film. Like Newland, you’ll brush her off and underestimate her understanding of the situation, but she’ll definitely come around in the end and leave the most lasting emotional impression.
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A film of stolen moments, orchestrated meetings and outright lies, The Age of Innocence is potentially nothing at all what its title suggests.
Provocative and provocative, with cinematography by Michael Ballhaus and a superb score by Elmer Bernstein, The Age of Innocence is also notable for a stunning Bafta-nominated cameo from the irrepressible Miriam Margolyes as society matriarch Mrs. Mingott.
The Age of Innocence is now available to stream on TVNZ+ and Netflix.