The Age of Innocence by Stuart Doty

The Age of Innocence / 1993

Martin Scorsese/ Queens New York / 1943

Budget: $30,000,000 (Baskin)

Gross: 32,000,000 (Baskin)

Synopsis: In a high class late 19^th century New York Society, so much of what you are is dictated by what those in your social circle think of you. Newland Archer finds himself betrothed to a promising young woman May Welland, only to find himself fairytale in love with her cousin Ellen Olenska. The social circle in which these two mingle already looks at Ellen with a dis-quite as she has run away from her first abusive marriage. They offer their outward support but would prefer to settle the affair without the ugly stain of divorce. Newland Archer must choose between his socially acceptable, yet undeniable second fiddle relationship, or the reckless desires of his heart.   

Narrative and Visual Keywords: Love triangle, manipulation, lust, responsibility, elegance, and wealth. 

Characterization/ Dialogue: The characters in this film are and must always be concerned with their status. To be shunned socially would almost certainly sting financially. As such, the story is told through a snobbish, yet brutally honest psychoanalytical vernacular. We as the audience are privy to a wealth of gossip provided by either the narrator or the characters themselves. The characters speak bluntly in vague terms, quiet text with a shouting subtext.

Camera/lighting/editing technique: Although a departure from his normal story and characters, the camera shots are unmistakably Scorsese. This movie has a plethora of dolly, crane and sliding shots. Anything to lend a fluidity to the shots, which lends to Scorsese’s successful story telling. Notable editing included a scene in which a character looks through a pair of binoculars inside an opera house, we see a rapid montage of images composited on top of one another comprised of theatre patrons; this was shown to emulate a frantic scanning.

Political/ Social Commentary: So much of what happens in this movie would hardly blink an eye in today’s society. There is an obvious social commentary about the way things were in the late 19^th century; everything between the limited choices available to women, to the introspective look into the aristocratic society and extreme measures they take to guard themselves from denigration.

Notable Collaboration: Jay cocks co-wrote the screenplay for The Age of Innocence. He also wrote the Screenplay for Gangs of New York.  

Random fact, Etc: Martin Scorsese had a small cameo in this film as the old fashion bulb photographer. Recently, he played an old fashion photographer in his latest movie, Hugo.

1. Mean Streets differs from the well-known glamorous mobster movie.  The camera movements seem to follow the films main characters as they go about their humdrum lives (Ebert). This was no doubt a fresh approach, as the scenes didn’t seem to be setup or even confined to any given space. The fights seemed to be realistic to the point of silliness, lacking any kind of fantastical choreography (Ebert). No doubt this was a more gritty portrayal of mafia crime within New York, and a new style of film making for the young break through director.  

2. Scorsese uses many moving shots in Mean Streets, although unrefined and a little shakier, we can still see the artistic way in which he composes his shots. Scorsese has always made the most of his moving shots, revealing information at crucial times as the camera moves throughout the scene. It is interesting to see the rudimentary beginnings of these signature styles he later becomes well known for. 

3.Scorsese’s vision has definitely evolved. I feel as though his movie GoodFellas is almost a re-visit to some of the characters in Mean Streets; only in GoodFellas, everything seems to be more purposeful. A stronger plot to drive the story, seamless transitions utilizing his now perfected dolly camera moves, but yet the same volatile characters only slightly re-imagined. Scorsese is so much more than a mobster movie director.  He is a story teller, it is evident that he has an infinity to the characters he saw on the streets growing up, though his story telling transcends into many different forms, as evidenced by The Age of Innocence, Aviator, and Hugo. 

Citation.

1.     Ebert, Roger. "Mean Streets." RogerEbert.com. Chicago Sun-Times, 02 oct 1973. Web. 17 Jan 2012. <http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19731002/REVIEWS/301010321>.

2.     Baskin, Mark. "The Age of Innocence." Internet Movie Database. IMDB, n.d. Web. 17 Jan 2012. <http://www.imdb.com/title/tt0106226/>.