Many people rate 'Raging Bull' or 'Goodfellas' as their all time favourite Scorcese film, and although I do love both of those films, I have to say that it is 'The Age of Innocence' that I find the most complex, daring and controlled. The acting is understated and script intelligent. It is the film most beloved by my good self for many reasons which I have neither the time or the inclination to go into on a blogspot. But do read on.
I believe it to be his most violent film.
But how so when there is not one drop of blood spilt or 'motherfucker' uttered? Well, let me tell you my dear readers, the violence is in the politeness, the violence is in the manipulation and the violence is in May's (Winona Ryder) determined stare as she exits the screen angry with Newland (Daniel Day-Lewis), but in cold control of every move...Oh, and it's violent because 'she never asked.' Yes, New York's polite society manages to rip the guts out of a life, yet still allow it to breath and 'endure' till old age. The Horror! The Horror!
It is also an incredibly beautiful piece of film art with many delectable vignettes, many of which centre around Ellen Olenska (Michelle Pfieffer): confidently and decisively walking over to Newland when women-weren't-meant-to-do-that-kind-of-thing (a fine moment, I have to say!); her New York apartment, she sitting by the fire, smoking, talking to Newland; the moment that could have been; at the harbour (the games people play); reading on a bench having her portrait painted, I could go on...
...but instead I will very briefly add, that Ellen's decision to return Newland's key declining to visit him 'just once' was the correct one for she was far too good for him. She dared to live what only Newland could read about in a book, in his armchair, by the fire. What a woman! What a film!
I believe it to be his most violent film.
But how so when there is not one drop of blood spilt or 'motherfucker' uttered? Well, let me tell you my dear readers, the violence is in the politeness, the violence is in the manipulation and the violence is in May's (Winona Ryder) determined stare as she exits the screen angry with Newland (Daniel Day-Lewis), but in cold control of every move...Oh, and it's violent because 'she never asked.' Yes, New York's polite society manages to rip the guts out of a life, yet still allow it to breath and 'endure' till old age. The Horror! The Horror!
It is also an incredibly beautiful piece of film art with many delectable vignettes, many of which centre around Ellen Olenska (Michelle Pfieffer): confidently and decisively walking over to Newland when women-weren't-meant-to-do-that-kind-of-thing (a fine moment, I have to say!); her New York apartment, she sitting by the fire, smoking, talking to Newland; the moment that could have been; at the harbour (the games people play); reading on a bench having her portrait painted, I could go on...
...but instead I will very briefly add, that Ellen's decision to return Newland's key declining to visit him 'just once' was the correct one for she was far too good for him. She dared to live what only Newland could read about in a book, in his armchair, by the fire. What a woman! What a film!
