The Age of Innocence (Daniel Day-Lewis, Michelle Pfeiffer)
Two people stay in a passionless relationship, purely out of convenience rather than for any reason of love. Of the two, one has not had romantic feelings for the other in a long time. Meanwhile, to round out the triangle, a man and a woman confess they are attracted to each other, but must refrain from acting on this realization because of the aforementioned relationship. It helps little that the man and the woman wander in different social circles. The woman goes to Europe, leaving the man behind in North America, before they have the chance to be happy together. I should add that all of these events also happen in a movie, as well.
The name of that movie is the Age of Innocence, a film based on Edith Wharton's novel about upper class society in 1870's New York City. It is a time when etiquette and decorum are not only observed, but become a way of life and are practically the only topic of conversation among the elite. It would appear that all fortunes are inherited and no one actually has a job or employment except for the scores of servants who bring the meals and wait on the nobles. After all, gossip and high tea are considerably more important.
Two families are on the verge of joining forces: young Newland Archer (Daniel Day-Lewis) and May Welland (Winona Ryder) are engaged to be married. From a social perspective, it is a win-win scenario for the two clans. For Newland, however, there is that pesky matter of true love. He is gradually discovering strong feelings for Countess Ellen Olenska (Michelle Pfeiffer), a woman who has had the "audacity" to separate from (and possibly even divorce) her husband who has stayed overseas. In another movie, the characters would find a way to secretly carry on a sexual affair in privacy. Here, as a possible target of unspeakable scandals, only a brief kiss or a touching of hands is as far as they can go, which creates a lot of tension.
Recently, I viewed Anna Karenina, which showcased a lot of pretty sets but nevertheless had a very static approach to a potentially engaging story. This is not the case with Martin Scorsese's The Age of Innocence, which is a technical triumph. Whether in a palatial home or outdoors amid the vibrant New York City streets, the camera drinks in as much detail, colour, and atmosphere as it can muster. Even the utensils, dishes, plates and meals are meticulously photographed. This enriches the experience of watching that albatross of cinema often referred to as the period drama.
Day-Lewis, Ryder and Pfeiffer are all fine as reserved citizens who seem about to burst out of their shells at any moment. They are joined by appropriate performers such as Geraldine Chaplin, Richard E. Grant, Mary Beth Hurt, and Michael Gough, and accompanied by the storybook narration of Joanne Woodward. Beyond the adept actors though, the Age of Innocence is lushly intriguing, and mannered but passionate.
