Classic Movie Review The Age of Innocence

The Age of Innocence (1993) 

Directed by Martin Scorsese

Written by Jay Cocks, Martin Scorsese

Starring Daniel Day Lewis, Michelle Pfeiffer, Winona Ryder 

Release Date October 1st, 1993 

Published September 2023 

Flower imagery is important for Martin Scorsese in The Age of Innocence. The open credits roll over footage of a flower. The first moving image of The Age of Innocence is an opera singer (Cindy Katz), picking up a flower as she sings. According to the Old Farmer's Almanac, conveying meaning via flowers was something of an elaborate pastime in the late 1800s, the time in which The Age of Innocence is set. The color of the flower, the type of flower, the bow tied to the flower, and the way in which the flower was given all had a specific meaning that was known among those in the Victorian Era. 

For instance, a yellow flower indicates romantic rejection whereas Red is the color of passion. The opera singer in the opening of The Age of Innocence has picked a yellow flower and whether or not you understand the language she is singing in, the flower is an indication that the man who is behind her in this scene, played by Actor Thomas Gibson of Dharma and Greg fame, is receiving a romantic rejection. Daniel Day Lewis' Newland Archer is seen as Scorsese pans over the crowd and is wearing white carnation which, again, according to the Old Farmers, indicates innocence, pure love, and sweet love. 

Newland is newly engaged to May, played by Winona Ryder, and appears happy to be betrothed to young woman from a good and respectable family. His well being however, is upended by the appearance of Countess Ellen Olenska, played by Michelle Pfeiffer. Where May is much younger than her husband to be, Ellen is the same age and the two had known each other in their youth. For various reasons, they never became romantically involved. Ellen moved to Europe, married into royalty and is now scandalizing New York City with the notion that she may actually become divorced. The plot truly kicks in when Newland is assigned by his law firm to represent Ellen and encourage her to return to her powerful husband or risk scandal and ruin. 

Nearing the end of the first act we get more flower imagery. Newland, after having visited Countess Olenska, decides to send her flowers but not before he's reminded by the florist that he should send flowers to his wife-to-be, May. Newland sends May her favorite flower, Lilly of the Valley which symbolizes sweetness, tears of the Virgin Mary, and humility. These are lovely and also damning traits. For the Countess, he sends yellow roses. Now, yellow does symbolize rejection but, yellow roses have their own meaning. in this case, they symbolize jealousy, decrease of love, and infidelity. 

Read my full length review at Geeks.Media 

Movie Review: DeLovely

De-Lovely (2004) 

Directed by Irwin Winkler

Written by Jay Cocks

Starring Kevin Kline, Ashley Judd, Jonathan Pryce 

Release Date July 2nd, 2004

Published July 1st, 2004 

The last time director Irwin Winkler and Kevin Kline worked together they turned out the dreadful melodrama Life As A House. So when I heard they were teaming again I was less than thrilled. Honestly I have never been a fan of Mr. Winkler's work, including The Net and At First Sight, a pair of less than stellar efforts. For Mr. Kline, I have always liked him but his recent career showed a career in decline. It seemed the last thing Kevin Kline needed was to work with Irwin Winkler again.

That may be what makes Kline's performance in De-Lovely so remarkable. Even as Mr. Winkler is delivering a rather compromised musical effort, Kline floats through effortlessly showcasing the wit and wisdom that won him an Oscar and the admiration of so many critics.

De-Lovely is the life story of one of the 20th centuries finest songwriters, Cole Porter. In the film, Kevin Kline plays Cole Porter from the time he met his wife Linda (Ashley Judd) in 1918 to his death in 1965. The film’s structure however is not a straightforward biopic. The story is told as Cole is being visited by an angel named Gabe (British character actor Jonathan Pryce) who takes Cole back through his life as though it were a Broadway production.

Cole Porter met Linda Lee in Paris while recovering from his first failed attempt at Broadway. It is Linda who draws Cole out of his temporary creative funk and drives him to create again. She is his muse but his love is not exactly aimed toward her. One of the worst kept secrets of Cole Porter's life was that he was gay. Though he was married to Linda for 38 years, the two had an understanding that never achieves proper depth in De-Lovely which seems too concerned with pop stars to truly dramatize Linda and Cole's unusual relationship. More on those pop stars later.

The film takes Cole and Linda from Paris to Milan and then New York where on Broadway; Porter made his greatest successes. Finally, the film goes to Hollywood where Cole was never comfortable with his big screen treatments. Louis B. Mayer, played in a cameo by Peter Polycarpou, wanted Porter to tone down his wit and deliver sappy romantic songs that play well to mass audiences. In one of the film’s better moments the cast breaks into Porter's playful "Be A Clown" to illustrate acceptance of his compromised Hollywood persona.

It was in Hollywood where Linda and Cole's relationship would go through its biggest trials. Cole may not have enjoyed the film business but he did love the Hollywood nightlife that offered many discreet, and not so discreet meeting grounds of Hollywood's gay community. The film has a minor blackmail subplot but like many other dramatic developments in Porter's life in the film, the subplot is quickly shoved aside for another pop star performance.

The final act of the film and of Porter and Linda's lives came after Porter was nearly paralyzed in a horse riding accident. His legs were crushed and he was advised to have them amputated. It was Linda who said no and because of her, Porter was able to continue composing music despite years of pain and surgery. He would return to Broadway with his biggest hit, Kiss Me Kate.

Thankfully, Kevin Kline and Ashley Judd don't need much depth from Jay Cocks' script to communicate the depth of feeling between Cole and Linda. The unconventional nature of their relationship is communicated by Kline and Judd in subtle ways, in the way she looks so longingly at him and the way he appreciates her love but cannot fully reciprocate it. Kline's Cole is full of the charm and charisma that made Porter a legend in his time. Still, there is always a hint of sadness or guilt when Cole looks at Linda. He can see her love and devotion and deeply wishes he could return it in some way.

The only way Porter could show Linda his appreciation was through his songs, many of which are dedicated to her. But even those love songs had a hint of Porter's capricious wit and many have read more into those songs and their innuendo-laden lyrics. Certainly not all of the songs can be attributed to Linda.

The film’s biggest problem is it's unusual structure, a gimmicky flashback style that may have seemed clever on the page but never comes together onscreen. As Cole and Gabe look back over Cole's life with Linda and his music as if the were directing a Broadway play, Winkler can't seem to commit to whether the film is a surrealist musical or melodrama. De-Lovely isn't a musical like Chicago where the songs are perfectly enmeshed in the story. Rather, De-Lovely wants it both ways. Flights of fancy where people just insanely break into song backed by an unseen orchestra, as well as staged performances where Cole watches from the audience, as he would have in real life on opening night.

Porter's music is performed by both Kline and Judd who acquit themselves well; that is to say, they don't embarrass themselves. Many of the songs are performed by pop superstars like Alanis Morissette (Let's Do It, Let's Fall In Love), Sheryl Crow (Begin The Beguine), Elvis Costello (Let's Misbehave), and Robbie Williams (the title song De-Lovely). While they are game performers, there is a glaring difference between pop songs and show tunes. That difference is brought home by Broadway performers like Caroline O'Connor (Anything Goes) and John Barrowman (Night And Day) who's belt it to the back of the theater style steals the show.

The decision to use the well known pop stars is clearly a commercial decision to sell soundtracks and not an artistic decision to do what's best for the film. I love Alanis, Sheryl and Elvis but they are performing show tunes as stand alone pop songs and they don't quite find the right notes. Once you make that commitment to commercialism you have compromised the integrity of the story and I for one and drawn away from the story.

As many problems as I have with De-Lovely, I am right on the cusp of recommending the film because Kevin Kline and Ashley Judd are so terrific. This is an amazing return to form for Kline who hopefully will seek out more quality material in the future. Ashley Judd is absolutely radiant even as the movie leaves much of Linda's life on the cutting room floor. The depth of the character comes from Judd's eyes, which show the pain of unrequited love and unending devotion in ways the script can't seem to communicate in words.

These are Oscar nomination-worthy performances in a film that is far from the same quality. The two are difficult to separate but if you can do it you may find a reason to enjoy De-Lovely the way I enjoyed it. The joy of watching two great actors show how difficult a job acting can be and how easy great actors can make it look.

Movie Review Gangs of New York

Gangs of New York (2002) 

Directed by Martin Scorsese 

Written by Jay Cocks, Steven Zaillian, Kenneth Lonergan 

Starring Leonardo DiCaprio, Daniel Day Lewis, Cameron Diaz, John C Reilly, Jim Broadbent 

Release Date December 20th, 2002 

Published December 18th, 2002 

The argument rages on as to who our greatest living director is. Certainly an argument can be made that there is no more popular and well known filmmaker than Steven Spielberg. The quality of Spielberg's work is impeccable. But when you talk about artistry in filmmaking and storytelling there is none more talented than Martin Scorsese. Though some may argue his work is too “East Coast,” that it lacks mainstream appeal and thus is not popular, the man' artistry is too great to deny. Scorsese's latest work, though again very “East Coast,” is nonetheless another work of stunning artistry.

Gangs Of New York is not just the story of its lead characters, Bill "The Butcher" Cutter (Daniel Day Lewis) and Amsterdam Vallon (Leonardo DiCaprio). It's also the story of our country and how it was forged in the blood and sweat of immigrants. It's a history that many don't like to reflect on. A history of incivility and murder, of prejudice and inhumanity. This is no wondrous tale of how Lincoln led the charge to freedom, it's far too honest to make a hero of anyone ,even a sacred cow like President Lincoln.

Gangs Of New York takes place on the fringe of the Civil War, in the ghetto known as Five Points where the Irish immigrants fleeing famine in their home country have established a foothold. Opposing Irish immigration is a group calling themselves The Natives led by Bill the Butcher. A vicious crime lord, The Butcher's hatred of the immigrants leads to a showdown in 1846 that would decide control of Five Points. Leading the immigrants is a man known as Priest Vallon (Liam Neeson). Though not a real Priest, he wears a collar and carries a staff with a cross on it which he uses as a weapon.

In this opening showdown Priest is killed by The Butcher, who claims control of Five Points. Witnessing the bloody carnage from the sidelines, young Amsterdam Vallon witnesses his father’s murder and vows revenge on The Butcher. Amsterdam is taken away from Five Points and sent to a prison school called Hell's Gate until he is of age. Years later Amsterdam returns to Five Points to claim his revenge.

Amsterdam is quick to find that the neighborhood has changed a lot and The Butcher is still in control. In fact he is now now more than just a vicious thug, The Butcher has made inroads in politics, buying the freedom of his syndicate through his relationship with New York's political leader Boss Tweed (Jim Broadbent). Killing The Butcher will not be easy, so Amsterdam schemes his way into The Butcher's inner circle with the help of a friend named Johnny (Henry Thomas). Once in close contact with the butcher however Amsterdam is nearly seduced by his charm and honor. 

There is no doubt that The Butcher is a cold blooded killer but he is also an honorable fighter who has, ever since the great gang battle of 1846, honored the memory of Amsterdam's father with a massive celebration. The butcher is unaware of Amsterdam's identity until Johnny, jealous of Amsterdam's relationship with a lovely pick pocket, Jenny Everdeane (Cameron Diaz), tells Bill the truth and nearly gets Amsterdam killed.

In a scene of incredible staging, Amsterdam makes an attempt on The Butcher's life during the celebration of his father’s death. He fails, but The Butcher, now aware of Amsterdam's true identity, shows mercy on Amsterdam and allows him to walk out, but not before scarring his face with a hot blade. This leads to the film’s climactic street fight between the immigrants and the natives. A combination of civility and brutality, which begins with a meeting between the gangs to decide on rules, weapons and a date and time for the fight.

How historically accurate is Gangs Of New York? Well like any Hollywood film, there will always be artistic license whether you like it or not. Scorsese has repeatedly stated his meaningful attempts at accuracy, which many see as the reason the film’s budget ballooned past the 100 million-dollar mark. Indeed the costumes and cobbled streets seem to fit what is known of the era. Not many history books outside the state of New York tell the story of the 1860's such as the draft riots which lead to bloody battles in the streets between New Yorkers and union soldiers. Indeed that actually happened whether we want to remember it or not. Similarly, people would like to forget the corruption and violence of 5 Points and the Gangs of New York. 

History lesson or not, Gangs Of New York is an enthralling tale told by a master storyteller. Scorsese is in complete control and the passion he clearly has for this material, which he has wanted to film for 20 plus years, is expressed remarkably on the screen. The Oscar buzz surrounding the performance of Daniel Day Lewis is more than justified. Lewis' Butcher is a seductive villain, charming and cunning. Even Amsterdam, who has for years thought only of killing him, is briefly seduced by him because despite his evil, he has honor and lives by a code of the streets that is long gone.

But while everyone praises Daniel Day Lewis these days, I would like to call attention to DiCaprio who makes a real statement in this film. DiCaprio has grown up and though he still carries many teenybopper fans who swoon at his every word, we critics can no longer write him off as a guy who trades on his good looks. In Gangs Of New York, DiCaprio steps up to the big time and now must be taken seriously as an actor of depth.

Gangs Of New York is epic filmmaking in every way possible. It has scope and scale but not at the expense of character development and scripting. The production value and performances and script all come together under the craftsmanly eye of Scorsese who makes yet another masterpiece. If Scorsese doesn't win best director this time around there is something very wrong with the world. Gangs Of New York is one of the best films of the year.