Based on the novel by Edith Wharton, The Age of Innocence is the story of a man who is about to get married only to fall for his fiancee’s cousin as it causes a lot of problems in the world of upper-class New York City in the 1870s. Directed by Martin Scorsese and screenplay by Scorsese and Jay Cocks, the film is an exploration of a love triangle where man falls for a woman who is known for having a very bad reputation as it is told by Joanne Woodward who serves as the film‘s narrator. Starring Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Michael Gough, Robert Sean Leonard, Norman Lloyd, Richard E. Grant, Mary Beth Hurt, Stuart Wilson, Miriam Margoyles, and Geraldine Chaplin. The Age of Innocence is a ravishing and evocative film from Martin Scorsese.
Set in 1870s New York City, the film plays into the life of a lawyer who is engaged to a woman who is prim and proper as her cousin makes a return to the city as the man falls for her and sense of individuality. It’s a film that does play into ideas of a love triangle but it’s also a film that explores a world that is changing as certain behaviors and ideas that is part of the norm of society forces this man to wonder if that’s the way to live. Even as this woman he falls for is a woman with an already scandalous reputation as she is seeking to divorce a count she is married to. It’s a film that plays into a lot of things as it’s told by this unseen narrator who often comments about the behavior and feelings of Newland Archer (Daniel Day-Lewis) and his relationship with May Welland (Winona Ryder) as well as his feelings for May’s cousin Countess Ellen Olenska (Michelle Pfeiffer).
The film’s screenplay by Martin Scorsese and Jay Cocks definitely explores a world where there are expectations to fit in to the conventions of upper-class New York City society. It’s something that May has been doing and seems comfortable with as she never really has an opinion about anything but rather maintain that idea of conformity. Archer definitely loves May as he knows that she is a woman that can be a great wife but upon meeting Ellen, he begins to question about what he wants in his life. Especially as Ellen is someone that is quite opinionated and doesn’t play into the idea of conventionality as she knows she is the subject of gossip due to her relationship with a count. That individuality is what attracts Archer to Ellen as it has him looking at the world in a different way but also has him obsessing about Ellen who is trying to lead her own life.
The script also explores that sense of two people wanting to be in love as Archer and Ellen are aware that May is in the middle as she is someone they don’t want to hurt. Even as there’s moments where Archer and Ellen want to say something but there’s many other things that happen which often has Ellen leaving Archer for different reasons. Plus, they’re hiding the relationship around people that are close to them as there’s other characters involved in the story such as Ellen’s grandmother Mrs. Mingott (Miriam Margoyles) who is a powerful woman of New York society with very strong opinions as she is admired by nearly everyone. Even as she would be an influence to May and several other characters as well as Archer where he would have to make a major decision on what he wants to do with his life and who to be with.
Martin Scorsese’s direction is definitely exquisite in terms of is total attention to detail in the way he captures 1870s New York City as it’s shot mostly in the city itself with scenes shot in Paris and other locations in Philadelphia. Much of it plays into a world that is very refined with a set of rules about how to live in upper-class New York society where everyone goes to the opera and are sitting in seats as the men are in one booth and their wives are in another booth. The usage of wide and medium shots play into that vast world while Scorsese also uses some stylish camera movements such as tracking shots and cranes to play into a world that sort of feels constrained by its rules only for someone like Ellen to come in and kind of break things down bit by bit. Even as Scorsese goes for close-ups to capture the sense of desire that looms between Archer and Ellen as well as extreme close-ups of their faces and hands.
The direction also has Scorsese utilizing many elements that are very stylistic in his approach to framing in the way he would light certain moments or to capture something where Archer and Ellen are in their own world that is detached from everything else. It adds to something that plays to a world that is changing though the people in Archer and Ellen’s world are quite oblivious to it because they’re protected by their environment. Yet, things would crash down once reality starts to come in for Archer and Ellen where Archer would have to make a decision as it also relates to May who does start to display elements of her own self to emerge late in the film. Overall, Scorsese creates a very intoxicating yet heart-wrenching film about a man caught in a complicated love triangle.
Cinematographer Michael Ballhaus does brilliant work with the film‘s very colorful and lush cinematography to capture the many layers of colors that is in display for some of the film‘s interior scenes while using some low-key lights for scenes at night. Editor Thelma Schoonmaker does incredible work with the editing with its usage of jump-cuts, flourishing montages, dissolves, and other stylish cuts to play into the sense of dramatic tension as well as longing between Archer and Ellen. Production designer Dante Ferreti, with art director Speed Hopkins and set decorators Robert J. Franco and Amy Marshall, does amazing work with the set design from the look of the houses and rooms where the characters are in to the ballrooms and opera houses as it displays great attention to detail to capture a period in time.
Costume designer Gabriella Pescucci does excellent work with costumes from the hats and suits the men wear as well as the lavish dresses that the women that plays into that period in time. Hair designer Alan D’Angerio and special effects makeup artist Manilo Rocchetti do fantastic work with the look of the characters from the hairstyles of the women to the beard and sideburns of some of the male characters. Sound editor Skip Lievsay does superb work with the sound to capture some of the atmosphere of the social gatherings along with low-key sound work in the dramatic moments of the film. The film’s music by Elmer Bernstein is wonderful for its lush and orchestral score to play into the period of the times as well as the romantic tension between Archer and Ellen while the soundtrack features music from that period including some opera and classical pieces.
The casting by Ellen Lewis is great as it features notable appearances from Charles and Catherine Scorsese as an old couple walking out of a train station, Martin Scorsese as a wedding photographer, Domenica Scorsese as a young woman Archer meets in Newport when he’s trying to find Ellen, Alexis Smith as Louisa van der Luyden, Sian Phillips as Archer’s mother, Alec McCowen as the Archer family friend Sillerton Jackson, Jonathan Pryce as a Frenchman Archer met in London in Riviere, Robert Sean Leonard as Archer’s adult son Ted in the film’s final moments, and Norman Lloyd as Archer’s mentor Mr. Letterblair who would counsel him about Ellen’s own attempts to divorce her husband. Mary Beth Hurt is wonderful as Regina Beaufort who feels shamed by her husband’s bad real estates deal while Stuart Wilson is terrific as Julius Beaufort who would often visit Ellen which raises suspicions in Archer that he’s one of her lovers. Richard E. Grant is superb as Archer’s friend Larry Lefferts as a man who is known for exquisite tastes as he is wowed by Ellen’s appearance.
Michael Gough is excellent as Archer’s family friend Henry van der Luyden who is giving Archer some advice on life while being very gracious towards May whom he likes a lot. Geraldine Chaplin is brilliant as May’s mother who is always warm towards Ellen while preparing May for the wedding and other family/social gatherings. Miriam Margoyles is amazing as Mrs. Mingott as Ellen’s grandmother who is always on a chair surrounded by little dogs as she is a person of power and influence while not afraid to speak her mind just like her granddaughter. Winona Ryder is remarkable as May Welland as a very kind and warm young woman who represents the form of innocence as she is the kind of woman that Archer should marry but manages to be so much more as Ryder just has this evocative presence that is a joy to watch.
Michelle Pfeiffer is incredible as Countess Ellen Olenska as this woman who is a free-spirit of sorts but is tormented by the mistakes she made in her past while is trying not to be judge as she finds comfort in Archer though she doesn’t want to hurt May. Finally, there’s Daniel Day-Lewis in a phenomenal performance as Newland Archer as a lawyer who is tormented by his love for May but is in love with Ellen as it’s a very restrained yet mesmerizing performance of a man who is torn between two women as well as realizing that the world he’s lived in is a façade of sorts but one that can protect him.
The Age of Innocence is an enchanting and sensational film from Martin Scorsese. Armed with a great cast led by Daniel Day-Lewis, Michelle Pfeiffer, and Winona Ryder as well as amazing technical contributions from its crew. The film is definitely a period piece that manages to be so much more in its study of characters, motivations, and ideals in late 19th Century New York City. In the end, The Age of Innocence is a tremendously rich and rapturous film from Martin Scorsese.
Martin Scorsese Films: (Who’s That Knocking on My Door?) - (Street Scenes) - Boxcar Bertha - (Mean Streets) - Italianamerican - Alice Doesn’t Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) - Raging Bull - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - New York Stories-Life Lessons - Goodfellas - Cape Fear (1991 film) - (A Personal Journey with Martin Scorsese Through American Movies) - (Casino) - (Kundun) - (My Voyage to Italy) - Bringing Out the Dead - (The Blues-Feel Like Going Home) - Gangs of New York - (The Aviator) - No Direction Home - The Departed - Shine a Light - Shutter Island - (A Letter to Elia) - (Public Speaking) - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The 50 Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)
© thevoid99 2015
Directed by Peter Weir and written by Tom Schulman, Dead Poets Society is about a former prep school student who returns to his old prep school as a teacher to a new group of young students. Breaking away from the conservative world of the school, the teacher gives his young students a chance to find their own individuality through poetry as a couple of students get a chance to live their dreams while dealing with the conservative world of their school and the expectations from their parents. With Robin Williams in a leading performance as the English teacher John Keating, he is accompanied by a young cast that includes Robert Sean Leonard, Ethan Hawke, Josh Charles, Dylan Kussman, Allelon Ruggerio, Gale Hansen, and James Waterson, along with appearances from Norman Lloyd and Kurtwood Smith. Dead Poets Society is an inspiring yet majestic film from Peter Weir.
Set in a prep school in 1959 in the American Northeast, the film is a simple story where a new teacher arrives at the school to teach poetry and literature as he would bring new ideas to his young students that breaks away from the traditional ethics of the school. It’s a film that in some respects is about times that are changing where this school is trying to maintain these ideas of wisdom in tradition, honor, excellence, and disciple in a world that is starting to change as its new teacher is part of that new world. At the same time, it is about a group of students who are amazed by this new teacher and his ideas as they’re inspired to read poetry as some of these students have the desire to do something else rather than what is expected from them. Especially as a few would endure the pressures of their parents to uphold certain standards and ideas rather than pursue their own ambitions and desire.
Tom Schulman’s screenplay is very broad in the way it explores the life of a prep school in the late 1950s where a new year is about to begin for a group of students while a newcomer to the school is a shy aspiring writer in Todd Anderson (Ethan Hawke) whose older brother was a student at the school. Anderson’s roommate in Neil Perry (Robert Sean Leonard) is being pressured by his father to become a doctor as he would eventually become interested in acting. Anderson and Perry would eventually find inspiration through the teachings of John Keating who was a student at the school years ago as he traveled through Europe to become a teacher as he would teach his students new ideas about living life. Even as he discards the traditional ideas of poetry as he feels that everything he had been taught about is tired and irrelevant as he would allow students to find themselves and their passion where many of them would reform an old poetry that Keating was a part of called the Dead Poets Society.
The script doesn’t just explore a group of young men coming together to read poetry but also find something in themselves where Knox Overstreet (Josh Charles) would use poetry to woo a girl from a nearby public school while Charlie Dalton (Gale Hansen) would find individuality and challenge the school’s old school ethics. Though Keating’s intentions were noble, he isn’t interested in challenging anything but rather expand the ideas as it would get him into some trouble with the school’s headmaster Gale Nolan (Norman Lloyd) who is trying to ensure the school’s ethics refusing to believe that times are changing. Especially where Perry’s desires to become an actor starts to get the attention of his father (Kurtwood Smith) as it would play into events that would effect the film tonally as well as the decisions some of the characters would make.
Peter Weir’s direction is very mesmerizing in the way he portrays the world of late 1950s prep schools set in the American Northeast where it’s very posh and has this air of elegance that stood for the ethics that the school is about. Yet, everything outside of that school represents a world that is ever-changing where it is shot largely at the St. Andrew’s School in Middletown, Delaware which definitely feels like the perfect setting of a world that is long and gone. Weir’s direction is quite simple in terms of the many compositions he creates but has this air of richness in every image he creates as well as an energy that plays into this feeling of a new world emerging into this school by this very passionate and charming teacher. The direction also has Weir find elements of humor and exuberance to play into a world that is changing where Keating brings something that is very worldly in the art of poetry.
Through some unique close-ups and medium shots, Weir maintains that sense of intimacy inside the classroom but also something much looser outside of the classroom. Even as the students would find ways to express themselves such as Perry who would get a chance to do Shakespeare while Anderson would have this great scene where he would create a poem of his own in the classroom in a way that comes off very naturally. It’s among the key aspects in Weir’s direction that is compelling as it does become more dramatic in its third act where it plays into some of the fallback of Keating’s teachings and how the old world wants to instill its ideals against the new world. All of which is set in a classroom about poetry and one teacher who would get a group of students to feel inspired for the world that is ahead of them. Overall, Weir crafts a very touching and riveting film about a teacher and the students who inspired him.
Cinematographer John Seale does amazing work with the film‘s rich and colorful cinematography to play into the exterior settings from the fall and winter seasons as well as some of the low-key lighting schemes for some scenes set at night. Editor William M. Anderson does brilliant work with the editing with its unique approach to rhythmic cuts and other stylized cuts to capture the sense of energy in the film as well as some of the more haunting moments in the film. Production designer Wendy Stites, with set decorator John H. Anderson and art director Sandy Veneziano, does fantastic work with the look of the classrooms and dining halls as well as some of the places nearby the school. Sound editor Alan Splet does superb work with the sound from the sense of chaos that goes on in the school to some of the sparse sound textures in some of Keating‘s teachings. The film’s music by Maurice Jarre is tremendous for its very low-key yet somber score with some unique string arrangements and some soothing orchestral themes as it is one of the film’s highlights.
The casting by Howard Feuer is just excellent as it features some notable small roles from Alexandra Powers as Knox’s crush Chris Noel, Leon Pownall as the teacher McAllister, and Debra Mooney as Neil’s mother. Kurtwood Smith is terrific as Neil’s very strict father who wants him to become a doctor while Norman Lloyd is excellent as the school headmaster Gale Nolan who tries to maintain a sense of order and idea of tradition in the school. Allen Ruggiero is superb as the nerdy Meeks who becomes much looser through poetry while James Waterston is wonderful as the more awkward Pitts who finds some confidence through poetry. Gale Hansen is fantastic as Charlie Dalton who is the first to be amazed by Keating’s teachings as he finds individuality and the desire to make difference. Josh Charles is amazing as Knox Overstreet who would find confidence in poetry to woo a girl who comes from another school.
Dylan Kussman is brilliant as Richard Cameron as a student who is the most reluctant to follow Keating’s ideals as he would later look out for himself and think of what is best for the school. Ethan Hawke is phenomenal as Todd Anderson as this aspiring writer who is very shy and extremely insecure only to get a push and some encouragement through Keating as he would find his way towards happiness. Robert Sean Leonard is marvelous as Neil Perry as this young man who is trying to find himself as he falls in love with the world of acting as he struggles with his own desires and what his father wants from him. Finally, there’s Robin Williams in one of his most iconic performance as John Keating. It’s a performance that has Williams display humor and exuberance but also one that is very sensitive and nurturing as it displays many of what he can do as an actor and how inspiring he can be.
Dead Poets Society is a magnificent film from Peter Weir that features an exhilarating and passionate performance from Robin Williams. Armed with a great supporting cast that includes Ethan Hawke and Robert Sean Leonard as well as captivating themes on individuality and changing the world through art. It’s a film that goes beyond the ideas of inspiration as it is also a film in how one teacher can change the lives of a group of young kids. In the end, Dead Poets Society is an outstanding film from Peter Weir.
Peter Weir Films: (3 to Go-Michael) – (Homesdale) – (Whatever Happened to Green Valley?) - (The Car That Ate Paris) - Picnic at Hanging Rock - (The Last Wave) - The Plumber (1979 TV film) - Gallipoli - The Year of Living Dangerously - (Witness) - (Mosquito Coast) - (Green Card) - (Fearless) - (The Truman Show) - Master and Commander: The Far Side of the World - The Way Back
© thevoid99 2014
Written, directed, and starring Charles Chaplin, Limelight is the story of a washed-up comic who meets a young dancer as he hopes to give her the break that she needed to make it into the big time. The film is an exploration into a man who has been through everything in the world of entertainment as he hopes to help a young woman who feels hopeless in her chance to succeed. Also starring Claire Bloom, Nigel Bruce, Norman Lloyd, Wheeler Dryden, Sydney Earle Chaplin, and Buster Keaton. Limelight is a ravishing film from Charles Chaplin.
Being in the spotlight can give anyone the chance to succeed but there’s also failure as the comedian Calvero (Charles Chaplin) knows that too well as he is washed-up and unable to draw an audience. After meeting a suicidal ballerina in Thereza “Terry” Ambrose (Claire Bloom) whom he saved from a suicide attempt, he decides to help her succeed as she had a lot to live for. It’s a film that is about the old generation helping the new one in some respects but it’s also a love story where Terry falls for Calvero despite his age as he is baffled into why someone so young would fall for him. Calvero would serve as a beacon of confidence for Terry but Calvero himself comes into his own issues as he’s reluctant to return to the stage in fear of failing. At the same time, he’s not sure if he wants to be successful since he’s already done so much and just wants to perform without any kind of pressure.
Chaplin’s screenplay is filled with some very strong dialogue to play into this relationship where Calvero helps Terry to get her hopes up as well as some commentary on fickleness of fame. Notably as there’s scenes of Calvero reflecting on his days when he was a success but finds himself facing a reality when his act that includes him singing and doing things with fleas aren’t captivating audiences like they did back then. Calvero reluctantly accepts that reality as he resigns himself to getting drunk until he smells gas as he finds Terry passed out early in the film as he saves her from death. Terry is a young woman who has experienced a lot of disappointments and such that plays into her despair as she would be unable to walk due to her low self-esteem.
Once she does become a star with Calvero watching from behind as he would play a clown in one of her ballets. He prefers to stay away so she can have her moment in the limelight yet she wants to share with Calvero which he politely refuses. Especially when it involves the presence of a young composer Terry met some years ago when she was working in a store as that man has become successful. The character of Neville (Sydney Earle Chaplin) is a man, who like Terry, also suffered from low self-esteem but success as a composer has made him confident yet still pines for Terry. Terry is unsure about Neville due to her devotion for Calvero but realizes that she has to do things for herself since Calvero won’t be around for long despite the temptation of making a major comeback.
Chaplin’s direction is pretty simple in terms of its compositions yet he manages to create something that is very engaging in his approach to humor and drama. Notably in the way he presents the drama with some very entrancing close-ups and medium shots to convey the unique relationship between Calvero and Terry. Even as much of that relationship is set in Calvero’s apartment where it is filled with posters of Calvero when he was a star as the film is set in the 1910s. The use of flashbacks early in the film is crucial to Chaplin’s vision in not just how good Calvero was but also a brief glimpse into Terry’s life and the moment she first met Neville. The film’s second act begins six months after Calvero and Terry had met where they strive to succeed where Terry gets her break while Calvero is just happy to get a job.
The presentation of the ballets that Terry is in are truly exquisite with Chaplin employing some wide camera angles to present the beauty of her dancing (as it’s performed by dancing-double Melissa Hayden). The film’s climax not only involves Calvero getting one last chance at greatness but it’s also a moment where Chaplin brings in one of his great film rivals in Buster Keaton as Calvero’s partner for this extremely hilarious sequence in their stage performance. It’s a real highlight in the film where Chaplin not only brings in the elements of the past that has made him famous but also to showcase that he can still manage to create something that is still touching no matter how much the times have changed. Overall, Chaplin creates a truly delightful yet heart-wrenching film about two people working together to succeed in the entertainment business during changing times.
Cinematographer Karl Struss does amazing work with the film‘s black-and-white photography for its intricate use of shadows and shading in the scenes in the stage to convey the sense of a world that is changing that Calvero couldn‘t be a part of. Editor Joe Inge does excellent work with the editing in not just creating some stylish dissolves but also use some transitional fade-outs and rhythmic cuts to play with its humor. Art director Eugene Lourie does fantastic work with the look of the apartment as well as some of the stage setting for the ballets. Costume designer Riley Thorne does dazzling work with the film’s period costumes from the suits that Calvero wears to the dresses that Terry wears.
Makeup artist Ted Larsen does nice work with the makeup work in the look of Calvero when he‘s on stage as well as Terry‘s makeup in her ballet performances. Sound editor Harold E. McGhan does terrific work with some of the film‘s sound effects as well as capturing some of the natural sounds in some of the film‘s different locations. The film’s music by Charles Chaplin is exquisite with its rich and delightful orchestral score that ranges from being comical to being somber in order to convey the many different moods in the film.
The film’s cast is marvelous as it includes appearances from Chaplin’s young children including Geraldine Chaplin as the kids Calvero runs into early in the film. Other notable small roles include Wheeler Dryden as the doctor who checks on Terry, Norman Lloyd as Calvero’s agent and Nigel Bruce as the very jovial impresario Postant. Sydney Earle Chaplin is excellent as the composer Neville who has always pined for Terry as he becomes aware of her relationship with Calvero. In a small yet fabulous role, Buster Keaton is hilarious as Calvero’s partner where he gets some funny lines late in the film yet it is the musical duet he has with Chaplin that is just truly unforgettable in its humor that showcases a performance from two great comedy actors that will never be seen ever again.
Claire Bloom is just radiant as Terry as this very troubled young woman who is unsure if she is to succeed as she finally does gain success but wants to share with Calvero as she is determined to become the devoted love of his life no matter how old he is. Finally, there’s Charles Chaplin in a very touching performance as Calvero where Chaplin brings a great sense of humility and wisdom to a man who faces the truth about his career while dealing with changing times as it’s Chaplin showcasing his range as a dramatic actor while also being very funny as he brings element of the Tramp to the performance as it’s certainly one of his most moving performances.
Limelight is a rapturous yet heart-wrenching film from Charles Chaplin that features one of his finest performances along with an outstanding one from Claire Bloom. The film is truly one of his great works not just in terms of its humor but also in the drama that it conveys. The film also features a moment where Chaplin and Buster Keaton show what they can do together as the two rivals create something that is magical. In the end, Limelight is a spectacular film from Charles Chaplin.
Charles Chaplin Films: (Twenty Minutes of Love) - (Caught in the Rain) - (A Busy Day) - (Her Friend the Bandit) - (Mabel’s Married Life) - (Laughing Gas) - (The Face On the Bar Room Floor) - (Recreation) - (The Masquerader) - (His New Profession) - The Rounders - (The Property Man) - (The New Janitor) - (Those Love Pangs) - (Dough & Dynamite) - (Gentlemen of Nerve) - (His Musical Career) - (His Trysting Place) - (Getting Acquainted) - (His Prehistoric Past) - (His New Job) - (A Night Out) - (The Champion) - (In the Park) - (A Jitney Elopement) - (The Tramp) - (By the Sea (1915 film)) - (His Regeneration) - (Work (1915 film) - (A Woman) - (The Bank) - (Shanghaied) - (A Night in the Snow) - (Burlesque on Carmen) - (Police (1916 film)) - (Triple Trouble) - (The Floorwalker) - (The Fireman) - (The Vagabond) - (One A.M. (1916 film)) - (The Count) - (The Pawnshop) - (Behind the Screen) - (The Rink) - (Easy Street) - (The Cure (1917 film)) - (The Immigrant (1917 film)) - (The Adventurer) - A Dog’s Life - (The Bond) - Shoulder Arms - Sunnyside - A Day’s Pleasure - (The Professor) - The Kid - The Idle Class - Pay Day - The Pilgrim - A Woman of Paris - The Gold Rush - The Circus - City Lights - Modern Times - The Great Dictator - Monsieur Verdoux - A King in New York - (A Countess from Hong Kong)
© thevoid99 2014
