The Age of Innocence

Age of Innocence is a film in color that is directed by Martin Scorsese in 1993. The film is set in 1870 in New York where who you are and what you have is of the up most importance. This is shown through the film’s genre of mis-en-scene. The two major visual components of mis-en-scene are composition and design which is mastered quite beautifully.

In the very beginning of the film, different shots of the same scene are shown to achieve one point of view. According to Roger Ebert, observe how Scorsese sets up the dynamic of the film before a word has been spoken between Newland and May or Ellen. It involves a point-of-view sequence, and Scorsese told me: "We look through his opera glasses, seeing what he sees.” This is something that would have to be pointed out after watching the film or would incline several viewings for an audience to realize its importance. The editing consists of fast cuts to different parts of the characters i.e. earrings and buttons that contribute to the composition of the film.

Several camera angles that were eye catching and intriguing were when the camera was on stage looking out at the audience during the Opera performance. The audience was able to see what it is like to be onstage and to look out into the audience. Another is when the camera is off stage, the viewers are able to interpret the play within the film. The pan of all of the art whether is be classical or contemporary shows the design and contributes to the films as a whole. Lastly, is when the camera is up above showing people eating at the dinner table and at the ball when people are dancing. It is like the audience is God and they are getting to look down from heaven to observe those two scenes. Roger Ebert comments on how Scorsese has two great strengths in adapting it. The first is visual. Working with the masterful cinematographer Michael Ballhaus, he shows a society encrusted by its possessions. Everything is gilt or silver, crystal or velvet or ivory. The Victorian rooms are jammed with furniture, paintings, candelabra, statuary, plants, feathers, cushions, bric-a-brac and people costumed to adorn the furnishings.

The characters with the way they dressed and look fit well with the films design and composition. It made the audience seem like they were actually in the 1870s. Michelle Pfeiffer’s character Ellen always wore rich colors like blue and red. She always stood out compare to the other women in the film. This contributed to her actions and what she said as a unique and stronger character than any other person in that society which is was attracted Newland to her. The irony of it all is how social customs are more important that legislation. Throughout, people are more worried about up holding traditions and how people think of them more so then what is right or wrong especially how it might hurt someone in the process.

The film is very slow which makes people lose interest in the actual plot of the film and more on the set, angles, and costumes. The beginning and the ending are the best of the entire film. Rogert Ebert put is best when he said, “the final scene, on a park bench in Paris, sums up not only the movie but Scorsese's reason for making it; it contains a revelation showing that love is more complex and secret than we imagine. Archer's son Ted says his mother told him his father could be trusted because "when she asked you to, you gave up the thing you wanted most." Archer replies, "She never asked me." We reflect, first, that she never did, and second, that she never needed to.”