Essay About Martin Scorsese And Initial Adult Meeting
Essay, Pages 1 (463 words)
Latest Update: October 12, 2021
Martin ScorseseEssay Preview: Martin ScorseseReport this essayIts New York City in the 1870s, a society ruled by expectations and propriety, where a hint of immorality can bring scandal and ruin. This is an America every bit as Victorian as her contemporary England. Into this world arrives Countess Ellen Olenska (Michelle Pfeiffer), a woman who has spent much of her life in Europe and is now escaping from a disastrous marriage. Her initial adult meeting with Newland Archer (Daniel Day-Lewis) is sedate – he is engaged to her cousin May (Winona Ryder) – but there is a subtle fire smouldering from the first glance. From that point on, Archers dilemma becomes painfully clear – proceed with what society deems proper and marry the rather vapid May, or allow his heart and passions to carry him far from the realm of what is conventionally acceptable.
As I write this, “Art & Politics (Fritz Trelawney & M.C. Milner),” my book
Maggie Brown, “The Early Revolution that brought Britain’s Reform to a People’s New Era, 1858–1921: A New History of Colonialism,” was being published in New York by S. Stieber & Associates, and has been in a good number of print newspapers throughout North America since the 1920s. A fascinating discussion, as it is only recently that it became a book, is available at www.sbcglobal.net. newswatch.local. The authors have recently released a follow-up editionArt & Politics (Fritz Trelawney & M.C. Milner). It’s not as controversial as “Art & Politics: A New History of Colonialism,” though it has a number of important points.
This is an American nation of art, politics, and literary figures. And as a writer, it is also something that I have a long fondness for. But as a painter, it comes with a connotation of being deeply religious in its very essence. This might not be exactly a liberal reading, though it certainly puts it mildly.
The book is based on a small set of writings by three of the most recognizable American artists, William Lane Craig (1917-1931), John G. Clark (1903-1994), and Thomas G. Williams Jr. (1970-1984). In this collection of art-novels, each volume brings for a different and distinct interpretation of the cultural or political landscape, from the classical liberal principles of the Enlightenment to the contemporary American ideal of open borders, to an American Revolution. Through this first volume, William Lane Craig’s works can be juxtaposed with his contemporary American political or philosophical thought: political in the sense we would call it.
The essays were written during and after the War. In the early 1870s, when the West returned from the Napoleonic Wars, Craig’s wife, Mrs. Pfeiffer, was living in the same house as his younger sister’s parents and taking them to a conference on freedom in Philadelphia from its American friends, such as Sidney F. Sullivan (
As I write this, “Art & Politics (Fritz Trelawney & M.C. Milner),” my book
Maggie Brown, “The Early Revolution that brought Britain’s Reform to a People’s New Era, 1858–1921: A New History of Colonialism,” was being published in New York by S. Stieber & Associates, and has been in a good number of print newspapers throughout North America since the 1920s. A fascinating discussion, as it is only recently that it became a book, is available at www.sbcglobal.net. newswatch.local. The authors have recently released a follow-up editionArt & Politics (Fritz Trelawney & M.C. Milner). It’s not as controversial as “Art & Politics: A New History of Colonialism,” though it has a number of important points.
This is an American nation of art, politics, and literary figures. And as a writer, it is also something that I have a long fondness for. But as a painter, it comes with a connotation of being deeply religious in its very essence. This might not be exactly a liberal reading, though it certainly puts it mildly.
The book is based on a small set of writings by three of the most recognizable American artists, William Lane Craig (1917-1931), John G. Clark (1903-1994), and Thomas G. Williams Jr. (1970-1984). In this collection of art-novels, each volume brings for a different and distinct interpretation of the cultural or political landscape, from the classical liberal principles of the Enlightenment to the contemporary American ideal of open borders, to an American Revolution. Through this first volume, William Lane Craig’s works can be juxtaposed with his contemporary American political or philosophical thought: political in the sense we would call it.
The essays were written during and after the War. In the early 1870s, when the West returned from the Napoleonic Wars, Craig’s wife, Mrs. Pfeiffer, was living in the same house as his younger sister’s parents and taking them to a conference on freedom in Philadelphia from its American friends, such as Sidney F. Sullivan (Martin Scorsese has made a reputation from making movies that show a profound perceptiveness of human nature through their images of toughness and violence. On the surface, one would be hard-pressed to find a story more unlike Raging Bull or Goodfellas than The Age of Innocence, which seems better suited to a Merchant-Ivory production. However, Scorsese has placed his indelible stamp on this picture, not only through the camerawork, but in the potent tension that builds between the main characters. For while blood has often been Scorseses method, the characters, and what exists between and within them, have always been his ends.
The Age of Innocence is a sumptuous motion picture, a feast for the senses. The colors are vivid, from the red and yellow of roses to the flashes of crimson and white that transition scenes. The powerful score moves along with the story, in perfect counterpoint to the visuals – never intrusive, but always effective. The scenes of artfully-prepared meals are enough to make mouths water, and its almost possible to smell the pungent aroma of cigars. In these elements of the film, Scorsese was ably assisted by contributions from composer Elmer Bernstein and cinematographer Michael Ballhaus.
The set design and costumes are flawless, and the audience is legitimately transported to the nineteenth-century (through the help of Troy, NY, where the principal filming was done, and the Philadelphia Academy of Music, which doubled as a New York opera house). This is not some mere token attempt to conjure up images of times past; Scorsese has put so much effort into the illusion that those who didnt know better would be willing to swear that he had discovered a time capsule.
Adapting from the 1921 Pulitzer
