# Age of Innocence, The (1993)

### reviewed by
Scott Renshaw

                                THE AGE OF INNOCENCE
                           A film review by Scott Renshaw
                            Copyright 1993 Scott Renshaw

Starring: Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder. Screenplay: Jay Cocks and Martin Scorsese. Director: Martin Scorsese. Reviewed by Scott Renshaw.

Viewers of THE AGE OF INNOCENCE will likely fall into one of two camps: those who consider it a minor masterpiece, and those who consider it a huge bore. There is something to be said for both sides. Director Martin Scorsese has crafted a sumptuous and dazzling visual feast from Edith Wharton's novel of social propriety and repressed desire, but one that suffers from an overlong second act and a lack of character depth. While still an exceptional film experience, it is ultimately one which I found much more engaging intellectually than emotionally.

THE AGE OF INNOCENCE is the story of Newland Archer (Daniel Day-Lewis), a lawyer in 1870s New York and a member of the privileged class. He is engaged to May Welland (Winona Ryder), a pleasant but oblivious girl from another prominent family. On the day of their engagement announcement, Archer is re-introduced to May's cousin Ellen Olenska (Michelle Pfeiffer), an unhappily married countess who has left her European husband for the support of her family in New York. Ellen wants a divorce, but the family fears a scandal and entreats Archer to persuade her to drop the suit. As Archer becomes Ellen's confidante, he realizes that she is one of the few people who shares his distaste for the shallowness of their world. He falls in love with Ellen, and finds himself forced to choose between what he most desires and what is demanded of him by his society.

THE AGE OF INNOCENCE is a tale of surfaces, of a society concerned with the appearance of things rather than the reality. It is a world where male infidelity is tacitly accepted, provided the man does not flaunt his indiscretion, a world where a declined dinner invitation is a social snubbing understood by both parties but never expressly stated. Scorsese captures this obsession with surfaces by letting his camera dwell on things rather than people; calling cards, watch fobs, earrings and table settings all become icons of status and civility. Meanwhile, a running narration by Joanne Woodward calls attention to the coded meanings and ironies in every word and gesture. It's a fascinating anthropological study, highlighted by typically bravura Scorsese moments, including a piercingly insightful tour through one house during a formal ball. Yet for all its virtuosity, I found THE AGE OF INNOCENCE working essentially as a documentary, not the forbidden love story which is at its core. Scorsese is so good at establishing the framework, that he has little time left for the characters. They are kept at a distance, which may in part be the point but left me a bit cold.

The performers are not to be held responsible for these shortcomings. Day-Lewis is quite good as Archer, particularly in a scene with Pfeiffer where he desperately struggles to find the polite vocabulary to tell her people will think she's a whore if she gets a divorce. He carries himself as though he is constantly on the brink of exploding but knows that it is impossible to do so. I had feared that Pfeiffer would end up repeating her Madame du Tourveil from DANGEROUS LIAISONS, but she is too canny an actress for that. She invests Ellen with as much as the script will allow her, and then some, making her a sad and slightly embittered woman who knows that being a woman means never being able to find your own happiness. Ryder has a thankless part as May, and seems almost as uncomfortable as she was in BRAM STOKER'S DRACULA; it appears to be time for her to forego period drama. Miriam Margolyes is delightful as May's eccentric and knowing Granny Mingott, but the rest of the cast is forced to do what it can with roles which essentially function as Archer's obstacles; they are not really characters in their own right.

However, the film's technical credits alone make it required viewing. Longtime Scorsese collaborator Thelma Schoonmaker does a glorious editing job, and even gets her name on a billboard in the film. Cinematographer Michael Ballhaus takes some stunning and instantly memorable shots, including an ocean panorama which looks like a painting. Elmer Bernstein's score is lush and evocative, and the costume and production design are certain Oscar nominees.

THE AGE OF INNOCENCE demonstrates yet again that Martin Scorsese could direct "Dick and Jane" into a visual spectacle. It's a fascinating examination of lifeless and soulless time, and my attention never waned. But I kept finding myself oddly detached, wanting to care more about whether or not Archer and Ellen would find happiness together but never quite able to do so. There is so much to admire about THE AGE OF INNOCENCE that it seems like nitpicking, but I'm funny that way: I want to be caught up in love stories.

         On the Renshaw scale of 0 to 10 calling cards: 8.

    --
    Scott Renshaw
    Stanford University
    Office of the General Counsel

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