The Age of Innocence

The Age of Innocence

Repertory

Edith Wharton’s Pulitzer Prize-winning novel about a secret passion within the enclosed social universe of 19th-century New York struck many as an odd departure for Martin Scorsese. Upon release in 1993, The Age of Innocence was greeted with equal amounts of admiration and puzzlement. 25 years later, this stunning film feels like one of Scorsese’s greatest – as visually expressive as it is emotionally fine-tuned, the movie is a magnificent lament for missed chances and lost time. With an extraordinary cast led by Daniel Day-Lewis, Michelle Pfeiffer, and Winona Ryder, The Age of Innocence has finally received the long-awaited restoration it deserves.

A special note from our Programming Director Brenda Moe

To balance the stark solitude of Anemone, we’re shining a light on Daniel Day-Lewis’s softer roles and tracing his career in reverse. After the release of Phantom Thread, in which he delivered an exquisite performance as the meticulous, controlling couturier Reynolds Woodcock, Day-Lewis announced his retirement. In The Age of Innocence, as Newland Archer, a man torn between the comfort of convention and forbidden passion, he offers a masterful exploration of repression in the face of societal expectations. In A Room with a View, as Cecil Vyse, a desperately self-conscious, pompous man whom George Emerson notes “can’t know anyone intimately, least of all a woman,” Day-Lewis brings remarkable empathy and sympathy to a character he once said “can’t open his mouth without clearing a room.” And finally, his turning-point as Johnny in My Beautiful Laundrette the performance that launched him into public awareness.
Join us in celebrating this remarkable actor with four films that span 31 years of Oscar ceremonies and earned a collective 20 nominations.

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Film Info
Distributor: Sony
Country: U.S.
Release Year: 1993
Runtime: 139
Director: Martin Scorsese
Rating: PG
Language: English
Format: DCP

"Life in the New York of the eighteen-seventies may have been constrained, but it was never dull—not if Scorsese’s camera is anything to go by."

—Anthony Lane, The New Yorker

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Sat. Oct, 11

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