Robert Regan
12Sep11
Neil, you and I may disagree about our rankings of Scorsese films, but we see eye to eye on this one!
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Displaying all 11 wall posts
Alder Adler
11Jan12
An accomplished costume drama lacking the vital force that makes a good movie great. Wharton's excellent novel is a quick read--it's a shame the film is overlong. Pfeiffer and Day-Lewis inhabit their roles as Modern heroine and antiquated hero. Scorsese, for his part, does capture that NY pre-War, Gilded Age feel. Bernstein's score is a highlight, but the title sequence by Bass feels dated. Also, nix that Enya. Yuck!
Rakeem
2Dec11
A worthy companion to any of Martin Scorsese's better-known films, "The Age of Innocence" is absolutely one of his best. The emotional violence inflicted upon these characters is enough to stack up to any of the bloody showdowns presented in "Taxi Driver," "Goodfellas," or "The Departed" just to name a few.
Robert Regan
5Sep11
One of the very few adaptations of a great novel that is also a great film. It gets better all the time.
Neil Bahadur likes this
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Robert Regan
10Nov11
Well, Neil, the real point is not ratings of individual films, but the fact that we both love this man and his work. I will try, though, to give you some idea of where these films fit into my world. On your list, I have still yet to see Bad and Shine a Light, but speaking of music, I am very fond of No Direction Home, The Blues, and The Last Waltz. If, god forbid, he were not able or allowed to make feature films, his non-fiction frequently reaches the power and stylistic verve of his fiction. Letter to Elia is for me one of the great personal essay films. Most of his films I could very gladly watch again right now. The few that I have probably seen enough (at least twice) are King of Comedy, NY,NY, Bringing Out the Dead, After Hours, and Boxcar Bertha. Those that I consider absolutely masterful and can't get enough of are The Age of Innocence, Goodfellas, The Last Temptation of Christ, and Taxi Driver. I also find his four recent films with DiCaprio to be thrilling experiences, though far from flawless, especially The Aviator and Gangs. Well, my friend, now you've done it! I have to scrap my current viewing plans in order to revisit some of these great Scorseses. Thanks for encouraging this brief reckoning. Bob
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Neil Bahadur
12Nov11
Haha! I've actually yet to see A Letter to Elia, but I'm looking forward to it, Have you seen his George Harrison Documentary? I think it's probably the best of his music films.
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Robert Regan
13Nov11
No, haven't seen the Harrison yet. Last time I looked, Elia was available on the PBS site. It's a remarkable film about Kazan AND Scorsese.
Joks
4Aug11
Never understood the fuss about this one. It's like a poor man's Visconti crossed over with Mills and Boon.
tony1990
29Mar11
The film breathes with an such an unmatched ease, that it serves as an ironic component to a story drenched in angst. Where the pace in "Raging Bull" thrived in abrupt episodic fits of rage that paralleled Jake LaMotta's life, "The Age of Innocence" takes its time to flesh the period and establish its mood, slow and eternal. That Scorsese can successfully handle such polar opposites is truly a credit to his genius.
Jack Lehtonen
21Jan11
Is this perhaps Scorsese's best? It is certainly his most moving. Between this and Casino, he seemed to reach the absolute nexus of his cinema, everything he knew and felt about the art form, a coalescing of style and content. One of the finest films ever made.
Adam Cook likes this
Zachary George Najarian-Najafi
23Oct10
One of Scorsese's best films, The Age of Innocence remains criminally underrated. It's a film that glistens with opulence, color, and light, but underneath it all there's just as much filth and decay as in Scorsese's other films. It also shows his amazing display to draw upon his influences to create something wholly unique and original.
H. Paul Moon
28Jan10
If "The Last Temptation of Christ" was the consummation of what Martin Scorsese does, this is the pinnacle of what he can do as a traditional filmmaker. Every component of moviemaking is drawn to perfection here. My doubts are melancholy and earnest that Hollywood may never again create this kind of film on such a large budget and epic scale.
