Many detractors of The Age of Innocence, one of
Martin Scorsese’s best films, write it off simply as a triumph of set design.
There’s no doubt that the film’s décor is exquisite. Every facet of every
prop seems to have been fashioned to visual perfection. The ever-present
narration tells us about the genesis of the design schemes of many of the rooms
that we see. Scorsese’s camera often seems to obsess over the interiors with
at least as much intensity as the characters. At times you almost get more
interested in the world that the film takes place in (which is New York in the
1870’s) than the plot, but that might be the most brilliant thing about the
film. Adapted from Edith Wharton’s Pulitzer Prize-winning novel, Age
takes place in the cloistered world of high society, and it soon becomes
apparent from watching the film that many of society’s refinements have
developed as a means of society’s self-defense. When style and etiquette
dictates that every fork, every servant, and every piece of furniture needs to
know its place, the people that command them damn well better know their place
as well. The endless explanations about “how things are done” are less
likely customs than words of warning, lest anyone act out of turn and bring
disgrace to the traditions that allow the high and mighty to feel superior. The
freedoms that the film’s characters’ affluence affords them are blotted by
the constrictions set upon them by their peers, and in matters of love, such
repression can turn even more ugly.
The romantic tangling that sits at the center of The Age
of Innocence’s plot threatens to upset not just the lives of those
involved, but also their entire culture’s justification of itself, and
that’s what makes it so fascinating. In order for love to bloom between
Newland Archer (Daniel Day-Lewis) and the Countess Ellen Olenska (Michelle
Pfeiffer), they must reject everything that they have been told and face
becoming utter outcasts. While plenty of other films have placed paramours in
similar states, few have done so deft a job at rendering the overwhelming tide
of resentment that greets them as this one. What makes the rebuffs so
heart-rending in Age is that they rarely are dispensed in way that could
be considered out of context. Few attacks rely on impoliteness here. Rarely do
two characters verbalize their true feelings to one another, since to do so
would be to court impropriety. Many costume dramas feel a bit distant since they
don’t make apparent the rules of the games that are being played between its
cast members. Scorsese makes no such mistake here, and he uses the first act of
his film to make sure we know that we can’t judge these characters by modern
standards. Before long, thanks to Scorsese’s directorial prowess, the film
completely immerses the viewer, and once we understand the very specific
emotional stakes, the film, despite its distant setting, transcends its costume
drama trappings and becomes something deeper and more immediate. It’s only
because we understand the difference between a polite declination of an
invitation and an outright snub that we can later understand the coolly
calculated machinations that fuel May Welland (Winona Ryder), Newland’s fiancé.
That Scorsese is able to compress so much novelistic detail into his relatively
brief film is nothing less than amazing. In this finely modulated context, the
obsessive art direction becomes not a defect, but a necessity. We must
understand that New York was a place where the smallest flaw was unacceptable,
even if it meant snuffing out some very real passion.