martin scorsese's triumphant adaptation of edith wharton's the age of innocence is a stunning film for the quintessential new york filmmaker , the man who brought the streets of taxi driver and mean streets to life . it seems like an odd choice for scorsese to do a period piece in the early 1900's , but the fact that he pulls it off so brilliantly is a wonder , and a testament to the greatness of scorsese as a filmmaker . this is a gorgeous visual experience that it surely one of scorsese's finest . newland archer ( day-lewis ) is a prestigious lawyer who is engaged to may welland ( ryder ) , a somewhat empty and shallow new yorker , who belongs to a prestigious family and is quite beautiful . the marriage is one which will unite two very prestigious families , in a society where nothing is more important than the opinions of others . on the day that archer is to announce his engagement to may , countess ellen olenska ( pfeiffer ) , cousin of may , walks into archer's life . archer is immediately captivated , and finds himself in love with ellen . archer is also bound by the limits of new york society , which is an intrusive as any other in the world . archer finds himself having a secret love affair in his mind with countess olenska , attempting to keep her in his mind while trying not to lose his social status . the film's subject matter may seem alien to scorsese , but the theme is definitely not . it is a theme of forbidden romance , guilty pleasures , and the consequences causes because of those actions . there is a painstakingly flawed hero , and his choice between the life he wants , and the life he is destined for . in truth , it is a film about a society the audience doesn't know about , but wants to find out more , much like the society of goodfellas or even kundun . the performances are absolutely breathtaking . day-lewis portrays more mental anguish in his face than one man should be forced to take . pfeiffer is marvelous as countess olenska , a mix of passion and beauty that the audience would die for as well . ryder is probably the gem of the group , for it is her quiet presence that overwhelms the plot , and slowly pushes day-lewis closer and closer to his eventual ending . the supporting cast is also wonderful , with several characters so singular that they are indelible in one's memory . scorsese definitely has a passion for filmmaking . his lavish and sumptuous set design and marvelous recreation of new york is a wondrous sight . he literally transports the viewer to another world with incredible imagery . his script is also excellent , slow in buildup , with a rapid conclusion and a fantastic ending that has to be seen to be believed . it is difficult to make a period piece gripping : scorsese , however , does it beautifully . the famous cameras of the legendary director are also everywhere . he is patient , but he films everything and anything remotely important . the cameras sweep , pan , track , and do more than they've ever done , but they are so subtle , one doesn't realize he's watching all the scorsese hallmarks until a 2nd viewing . the central tracking shot is probably longer and more complex than the famous goodfellas shot , but the viewer doesn't notice it , because we want to see more of this gorgeous world . there are a few deft touches of filmmaking that are simply outstanding , and joanne woodward' narration is exquisite . not a fast film like goodfellas , this shares more in common with kundun than anything else . and like kundun , this is a slow-starting film that truly shines , when given the chance to fully breathe and bloom in the end . a beautiful film by a director continuing to challenge himself year after year .
