Who said that Martin Scorsese doesn’t have range?
One of my least favorite aspects of the whole Scorsese-Marvel discourse has been the attacks on Scorsese’s filmography. I know too many mainstream audiences; he is simply known for his mobster movies. Goodfellas…Casino…The Departed…The Irishman…there are plenty. But that is a downright narrow perspective. Through all the weeks that I have been travelling through Scorsese filmography, I have discovered how much range Scorsese has. I always knew he was one of the greatest directors of all time, but I never realized just how great he truly is. Scorsese has taken on so many genres and I remember seeing his penchant for period pieces when I first saw Gangs of New York. I have plenty of thoughts about the film (you will see in a future article) but the period elements and setting are impressive.
What makes for a great period piece?
First things first, the visuals need to be convincing. When you look at a room, a home, or a theater (or even an opera house), the audience needs to believe the world on screen. The period-accurate production design is an essential piece of the puzzle. The film works even better when you can see something real. Not to say that computer effects don’t have a place, but a tangible setting makes for a better world. When the actors can see and interact with their surroundings, it creates a more genuine performance. Along with the setting, the costumes need to be delivered too. The clothes the actors wear also allow them to connect with the characters they are portraying and feel like they are in the period the film is portraying.
One of the most magical things that cinema can do is transport us through time to a place we could never experience on our own.
But is a period piece just about turning back time?
Something that makes a period drama connect is being able to stay relevant despite the different times. It could be potentially alienating to have a film that takes place in a time when the audience cannot experience it. But with the right screenplay, that film can still connect to the audience in a meaningful way. Timeless themes that can thread through time are the backbones of any great film. They are the elements that are the most human aspects of filmmaking. If the audience can real to the trials and tribulations of the characters on screen, the film is working. A great period drama is one that speaks to any audience over time. When you strip away the period setting and the costumes that the actors are wearing, you should be left with a story that is relatable where the challenges are deeply rooted in the human experience.
What is Scorsese’s most relevant and fully realized period drama?
The Age of Innocence. Edith Wharton’s novel tells a story of New York high society with the struggles between duty and passion. Newland Archer is a lawyer who is set to marry the respectable Mary Welland. Things get complicated when Newland feels a deeper and more meaningful connection to her cousin, Countess Ellen Olenska. Scorsese’s adaptation tells of the struggle that Archer experiences trying to find direction. Does he still win his dutiful partner who has been there and supportive? Or does he chase his heart and go for the woman who has been through a lot of societal turmoil. Over the course of this film, the audience experiences sexual tension, societal pressures, and conflicting feelings of love and duty.
How does this resonate with a modern audience?
The deep-seated struggle between duty and passion is such a personal and universal struggle. Many people feel this with work.
Do you commit to the steady job that you have, or do you take the chance and try to live out your dream?
There are people out there that those two things are one and the same. But for many, it is a struggle to not chase those dreams and to commit to what is needed of them instead. I am lucky enough to love my full-time job and being in higher education is a passion of mine (helping others learn is an essential part of life in terms of growth). All of this that I do relate to film (a deep passion of mine) is a series of side gigs. But it would be cool to do this for a real profession. Being risk-averse as I am, I would struggle to pull that trigger. I can relate to Archer’s plight.
But what about love?
Archer’s personal journey is connected closer to romantic love. That is another relatable experience that is deeply human. I have been through my share of good and bad relationships. I feel privileged to be with someone I love so much but many struggles with not having their “one”. Archer’s “one” is the countess and he must make a challenging choice. Who wouldn’t be lucky to have the sweet and committed partner that Mary would be? She is a good woman and Archer realizes that. But there is no spark. That spark is something that so many of us chase after. That special feeling when your connection with someone is poignant and life-changing. You can understand why Archer wants Ellen so much. The chemistry between the two of them on screen is electric. The audience can feel that tension. Scorsese does not need to show too much as he makes the most of small moments. The framing of holding hands. The capturing of a tender kiss on the inside of a wrist. When you can feel the passion, you can understand the struggle. I don’t know if you have ever been one to struggle with the “one” getting away, but this film captures the complexities perfectly. Timing can be so tough and frustrating like that.
But how do you feel the connections between these characters?
The actors who create these characters are so essential. Scorsese certainly had plenty of talent to work with. Daniel Day-Lewis is arguably the greatest actor in the world. Archer is not his biggest or boldest of characters, but DDL still injects all his care and passion into the role. It is strange (on some level) to see his actual face since he has become so well known for his body-altering performances. But what Day-Lewis brings to Archer is a stiff upper lip. You don’t see him outwardly lash out emotionally. Everything is boiling underneath the surface. Because of his larger performances, Day-Lewis’ ability to emote so well through his eyes and facial expressions is underappreciated. His chemistry with Michelle Pfeiffer is off the charts in the film. The sexual tension feels tangible through the screen. Pfeiffer’s performance is magnetic and alluring. Who could blame Archer for falling in love with this woman? Pfeiffer has such a screen presence, and this is the unique aspect that she brings to this role. Whenever she is on one screen, there is a different sense of energy. Winona Ryder delivers the complete opposite kind of performance. Her presence is sweet and genuine. She brings a sense of love and commitment. Mary is the kind of woman that you can come home to and always feel loved. Ryder can deliver this feeling so effortlessly. These two actresses make this romantic struggle come to life. The audience feels stuck in the middle with Archer… lost in that struggle between a perfectly good woman and the passionate connection he has with another.
Is the love triangle at the center of this tale the only thing that stands out?
This is a Scorsese film… there is plenty to latch onto. From a filmmaking perspective, visual storytelling is off the charts. There are plenty of trademarks of Scorsese films throughout The Age of Innocence. The long tracking shot makes quite a few appearances throughout the film. Besides just showing off some top-notch directing and cinematography, why does this matter? With the high society setting, parties are an essential piece to the great narrative. Where do eligible people network? At parties. Where does the audience get introduced to this exuberant number of characters? Through parties.
Scorsese can navigate numerous large groups of people and allow the audience to feel like they are lost in this web of complicated societal connections.
These shots also benefit the audience by allowing them to be lost in this painstakingly crafted period setting.
The subtle use of crisp framing allows for many smaller moments to express so much. As mentioned earlier, the framing of Day-Lewis’ hand slowly grasping Pfeiffer’s is so emotional and passionate. The audience can feel the tension crackling on-screen.
But what is the most meaningful sequence in the film to draw the audience in?
The opening scenes of The Age of Innocence lay down so much of the work. The opening credits are beautiful and alluring (quite like the countess of the story) which is brought to life in part by the legendary Saul Bass. Then… to the Opera! Scorsese has shown in previous films (like The Last Waltz) that he can capture the energy of a live performance. How the opera is shot is full of energy and quite engrossing. The audience straddles the line between being a fly on the wall and being in the audience with our characters. The camera moves fluidly and artfully around this opera hall as we are introduced to each of our players. Whether they are the central fixture of a shot or in the background (but still in focus and conveying important reactions and emotions), Scorsese and cinematographer Michael Ballhaus do so much. Elmer Bernstein’s iconic and moving score does plenty of heavy lifting as well.
But what about the screenplay that Scorsese and partner Jay Cocks adapted?
Like his most recent films (especially Goodfellas) there is heavy use of narration. That might be the weakest aspect of the film for me. The narration has a classic film feel but also oversells a lot of information. What is the magic of film? It is a visual medium. Where Goodfellas used it to get inside the head of our protagonist, The Age of Innocence instead as a narrator who dumps tons of exposition to the audience. This feels heavy-handed and overbearing at times. But how this narrative plays out is focused and deliberate. This is a slow burn of a story as each new encounter adds layers to Archer and Mary’s relationship as well as Archer’s with Ellen. The balancing act between personal drama and societal conflicts of the time makes for a story with plenty of layers. Scorsese proves again that he has a deft hand when dealing with the complexities of the human condition.
Are you ready to be transported by the magic of film with Scorsese as your guide?
This impeccable trio of actors brings the audience along on a passionate and challenging struggle of love and duty.
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The Age of Innocence is a beautifully rendered experience that is boosted by awards-worthy work of production designer, Dante Ferretti, and costume designer, Gabriella Pescucci. Scorsese proves time and time again that he can masterfully create any film in any genre.
