In celebration of my player's return, I watched a film I have not seen in at least five years, but one that never ceases to stir me: Martin Scorsese's The Age of Innocence. Based on Edith Wharton's novel, this adaptation is superb and easily my second favorite of all time (only Ken Russell's Women in Love surpasses it, but that is for another post).
I must confess that I am a Whartonion, to coin a new phrase: she has easily been my favorite author since I was in high school, and this adaptation of her work is actually a most personal film for me. The memory of viewing it religiously in high school, absorbing its vivid sensuality and lush symbolism with determined focus, is still fresh; I remember how deeply this film affected me, especially as a teenager with health problems, because of its unflinching plunge into a world of aching rigidity and cruel gossip. Having been the target of such exploitation myself (as recently as this summer) for issues beyond my control, I can truly say this film - and the book to an even greater extent - encapsulates the emotional turmoil of codes and rumors and ignorance and cruelty, above all, better than any other work of art I can think of. This film left such an impact on me in high school that I soon read the novel for the first time as a teen and have treasured it ever since. In fact, I wrote my MA thesis on Wharton, with one chapter discussing The Age of Innocence. Not only shaping my world views and emotional experiences, this film also germinated my studies and career, for which I am indebted to Scorsese for creating such a faithful and impactful adaptation.
For those who are unfamiliar, The Age of Innocence, set in the 1870s, tells the story of Newland Archer, an aristocrat who is not quite part of the leisure class because he has do something as vulgar as "work," who is engaged to May Welland, only be to swept off his feet by her exotic, older cousin Ellen Olenska, who is trying to divorce her philandering husband, a Polish count whom we never see. The title is ironic, and Newland and Ellen's love is never consummated; truly, the torture of this film comes from seeing these two people who share such an intense connection never allowed to realize it fully.
It is actually difficult for me to put into words precisely how raw and agonizing the emotions of this film are. Scorsese himself has actually called this one his "most violent film," and it is not difficult to see why. Does the film have people getting shot in the head or being beaten to death and buried alive in the desert? No, but to associate only physicality with violence is ignorant at best and is a complete misunderstanding of the very nature of violence. Violence is raw, cutting, and scarring; it can be physical, certainly, but emotional violence leaves scars far deeper than a punch or bullet can. Newland's internal violence, which the audience experiences through him, is so suffocating that one can actually find breathing difficult while watching this film. Although most people may assume Goodfellas or Casino is Scorsese's most violent, neither of those films reaches the depths of distress or melancholy that is realized so beautifully and hauntingly in The Age of Innocence.
How is The Age of Innocence more disturbing than Goodfellas, you ask? The fact is that despite the world in Age belonging to a very specific time and era, the truth beneath its setting is applicable to any time. The film is all about how it feels to succumb to others' expectations for you and to disregard - or even suppress - your own desires for your own life. It's about learning everyone around you has gossiped about you behind your back. It's about giving in to habit and normalcy at the expense of sacrificing your own self merely to maintain propriety. These experiences apply to anyone in any time, and they certainly resonate with me.
Newland's world is lush and gorgeous; indeed, the film itself is a visual feast. Like a strong perfume, though, his world is too beautiful, suffocatingly beautiful. The novel is full of death imagery, and Scorsese leaves much of this dialog in the film. The contrast between the extravagant wealth and "polite" conversation and the actual meaning behind these words is startling, especially when compacted with Elmer Bernstein's magnificent score.
Truly, this is a film that demands re-viewings; it is impossible to absorb all of the details of this film in only one viewing. Tonight, after watching this film countless times for more than 15 years, I still caught new things. That is how much skill went into this film. The production design is peerless in both its beauty and its authenticity; the music is gorgeous; and the acting is perfect.
If you ever want to measure Daniel Day-Lewis's talent, simply watch both of his Scorsese films. The gulf between Newland Archer and Bill the Butcher (Gangs of New York) is so vast that it is difficult to believe they're played by the same actor. In The Age of Innocence, Daniel has increasing difficulty speaking, becoming more tight-jawed as the film progresses. Michelle Pfeiffer is in one of her best roles as Ellen, and Winona Ryder complements as the seemingly oblivious May.
Sadly, The Age of Innocence may be both Scorsese's best film, yet also his most underrated and overlooked film. Criminally ignored by film critics and even dismissed by so-called Scorsese aficionados (the ones who only think of Scorsese as a master of blood and guts; those folks are also called "idiots"), The Age of Innocence receives little attention, which has led to some unfortunate consequences. One cannot even purchase a 35 mm print of the film - not even the editor Thelma Schoonmaker. Yet, if one looks closely, one can see the similarities between Goodfellas and The Age of Innocence: both films deal with entities that have specific codes of conduct - and thinking - that must be followed in order to survive in their respective worlds; when someone challenges this order, he or she must be axed, which is what happens to Ellen Olenska.
I cannot say enough good things about this movie, and it has been difficult for me not to write about the book in this post. My only suggestion is that you watch this film, then watch it again, then watch it again until you finally grasp the enormity of its messages and veracity.
Grade: A+
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