The Age of Innocence (1993)

Ellen: Newland. You couldn't be happy if it meant being cruel. If we act any other way I'll be making you act against what I love in you most. And I can't go back to that way of thinking. Don't you see? I can't love you unless I give you up.
~from The Age of Innocence (1993)

Martin Scorcese's The Age of Innocence is a film of such mesmerizing beauty that even after multiple viewings I am still absorbing the details. Beneath the meticulous and subtle veneer is a study of decisions, especially those that are made from genuine love, sacrifice being the characteristic of true love. The film shows a wealthy man, after a great deal of struggle, ultimately placing his duties of husband and father above pleasure. He carries the pain of the renunciation and only receives satisfaction from it over time. Ultimately, however, the choice of remaining with his wife and creating a stable home for their children is what gives structure and reality to his entire being. In the end he sees the dream of passion for what it was, a dream.

Based upon Edith Wharton's 1920 novel, Scorcese's film surpasses the original 1930's version in every way. In the words of Allmovie.com's Lucia Bozzola:

Sumptuously shot by Michael Ballhaus, the film offers meticulously designed costumes and settings that evoke a culture as seductively beautiful in its surfaces as it is stifling in its rituals. Unspoken emotions are expressed through such details as yellow roses or a clipped cigar, a fade to red or a single camera move. Using Wharton's original prose to comment on the setting's hypocrisies, Joanne Woodward's voiceover narration suggests how much decisive power is buried beneath dainty femininity.

Other reviewers have raved about the film's artistry as well:

The Age of Innocence is a sumptuous motion picture, a feast for the senses. The colors are vivid, from the red and yellow of roses to the flashes of crimson and white that transition scenes. The powerful score moves along with the story, in perfect counterpoint to the visuals - never intrusive, but always effective. The scenes of artfully-prepared meals are enough to make mouths water, and it's almost possible to smell the pungent aroma of cigars. In these elements of the film, Scorsese was ably assisted by contributions from composer Elmer Bernstein and cinematographer Michael Ballhaus.

The set design and costumes are flawless, and the audience is legitimately transported to the nineteenth-century (through the help of Troy, NY, where the principal filming was done, and the Philadelphia Academy of Music, which doubled as a New York opera house). This is not some mere token attempt to conjure up images of times past; Scorsese has put so much effort into the illusion that those who didn't know better would be willing to swear that he had discovered a time capsule.

Newland Archer, played by Daniel Day-Lewis, feels constrained by the unwritten rules of his family in particular and of New York high society in general, rules which dictate everything in his life. Yes, it is America, which has theoretically thrown off the traditions of the Old World, yet the strict code of Newland's social set would rival anything Versailles had to offer. He has chosen as his bride May (Winona Ryder), gracious, shallow, and innocent, who no doubt will prove to be the perfect spouse for his niche in the world. It is not surprising that he is madly attracted to May's cousin, Countess Ellen Olenska (Michelle Pfeiffer), about whom lingers an exotic aura of scandal mixed with tragedy. Ellen returns Newland's love, but she gives him up because she will not hurt her cousin May, since under Newland's influence she has resolved to be a better person. Newland marries May but cannot get over Ellen.

According to Edward Copeland on Film:

The Age of Innocence concerns the struggle between individualism and society and the complications of falling in love with on person when you've committed to someone else....

Archer and Ellen's chaste and pent-up longing gives The Age of Innocence its emotional wallop. Adding to that, the film slyly depicts the social scene itself, including frequently funny passages culled from the novel itself....

However, the film belongs to Scorsese, who injects what could be a staid costume drama with an energizing passion. Sprinkled with Wharton's wry observations, it seems a perfect collaboration despite the fact that Wharton died long before Scorsese was born.

The Age of Innocence resembles the opulent meals it takes pleasure in recreating. It looks and tastes great and when it's over your hunger for exquisite film making has been more than satisfied.

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