this is all well designed and acted, especially the nuances of Day-Lewis' performances, but I'm still just sort of 'ehh, it's cool' about it all. The one incredible scene is when they're at the theatre and the sound is drowned out and the background becomes out of focus, and we hear the two in a moment of seeming privacy in public which they are never able to attain again. 3.5
A film of wondrous, yet ultimately, transient beauty. Scorsese's typically rich style, in this case lacing together crowded scenes, a cornucopia of ornaments, classical paintings, and sentimental, mushy background music, never produces a strong impression on the mind because one beautiful image begins soon after the other ends. And the actors here are almost too refined and dignified in the most intimate scenes.
Oyuncu kadrosu çok iyi, senaryo da fena değil ve 3. kişi tarafından anlatılıyo, bu da filme masalsı bir hava katmış. Scorsese'in en iyi işlerinden sayılmasa da iyi denebilir. Filmde canımı sıkan iki şeyden biri Winona'nın aşırı silik bir karakteri oynaması ikincisi ise Pfeiffer'a ne yapmışlar bilmiyorum ama kadının güzelliğinden eser kalmamış filmde.
Not so much a movie about entrapment, but the overwhelming illusion of it - the maddening search for the invisible line that separates social duty from personal desire. Even if Scorsese pays a lot of homage to the setting by using tons of classical staging, his post-modern idiosyncrasies shine rips right through all of the delicate varnish, revealing the yearning, sensuous heart underneath it.
The most "brutal" movie from director Martin Scorsese. It is brutal in terms of the characters weren't able to express their lust and true feeling of love due to certain limitation in their daily life. It's the repression that makes it. Many people said that THE AGE OF INNOCENCE is Scorsese's underrated movie. Well, I agree with it. I really, really loved Michael Ballhaus' cinematography. The camerawork was superb...
[Cinemateca Portuguesa - DCP] The innocence of being guilty of daydreaming of freedom. Who's innocent here? Who's the lamb...? May? Ellen? Beaufort? Our man with the acheing heart ? He who dreams of wrist kisses, hugs on the chest coming from the North, or magic hour-lit bodies of hour and sailboats that mark the length of eternity? if she turns around my heart is hers. oh but life is no dream. </3
Discovering yet unseen Scorsese movies is a rare pleasure. I'm in awe of Scorsese's absolute mastery of the cinematic arts. With "The Age of Innocence", he offers a strange object of his filmography but a sublime one. Stunning art direction, refined editing, and fantastic acting bring this heartbreaking story to life in a quiet yet powerhouse fashion.
Rewatch for the first time in about 20 years...one of Scorsese's very best (I say this as someone who has only ever liked his comedies and more 'mystical' films)...between Ferretti and Ballhaus it goes without saying that this is his best-looking work, and poignant in how the editing/photography/etc reflect the film’s thesis: the choices we make and the choices that institutions have made for us.
A material such as this doesn't allow for anything less than a pitch perfect directing and an assiduous dedication to detail. Vignetting is a charming dedication to early cinema, and director's trademark moving camera paired with narrating the classical work produces of his most memorable sequences. It's amazing how Scorsese handles peculiar manners of Gilded-age and intrinsic machismo with equal success.