Love That Travels Bad.
Scorsese has that knack of being an outlaw even in a period piece as such. A love story set in the backdrop of a 19th century, the love factor is transpired as a wicked disease that rottens the core of oneself that questions. Yet, there is a certain coziness in their body language, when Daniel Day-Lewis and Michelle Pfeiffer first encounter each other awkwardly, Martin Scorsese’s- the co writer and director- target lies on a play going on in that room. That very play helps a lot in setting up the scenes, and despite of having a narrator in storytelling, Scorsese uses one of his best asset, Daniel, for introducing his point on the table.
Often when such a long film, that covers a lot of years from jumping one incident to another, tends to lose the grasp over the audience and for a brief period it does so, but Scorsese being himself, pulls out his trump card Winona Ryder that he has been keeping aside for the first half. Presumably, the reason why Winona comes off a lot powerful than any other, is that she is alone for the most part of the film. Daniel and Michelle fights against themselves to not unite together, while Winona takes away all the big chips.
The monologues in the film are crucial to both, the makers and the actors, and this early cinema vibe that it offers, feels like a Sunday morning. You don’t often see a vein popping, throat bulging, red turning face on the screen when the actors fight so passionately against each other. The Age Of Innocence is similar to the play, that these characters are moved with in the film, all drama with a pinch of romance, this is old textbook filmmaking at its best.