The Age of Innocence

Young Kane Richmond is coming to his grandfather John Boles for advice about women. He's looking to marry a divorcee and the family is just buzzing. Except for Grandpa and Richmond suspects something.

His suspicions prove correct as John Boles proceeds to tell him about his romantic youth in the Gilded Age when he passed up Irene Dunne who is in fact his sister-in-law. Neither of the two were ready to defy very strict conventions of the time that still held firm in some respects when this film was released. Divorce was a big no-no

Both the leads did well though I really couldn't see Lionel Atwill as anyone's romantic rival. Helen Westley as the grandmother came off best in the supporting cast.

Taken from an Edith Wharton novel the play by Margaret Ayer Barnes ran 207 performances on Broadway and starred the legendary Katherine Cornell. Now that I would have liked to see.

I just watched The Age of Innocence and although it is a good movie, I wish it were made in color. The Ladies costumes were great and Irene Dunn looks amazing. I have one question, did men in the 1870s wear clothing that were styled much later? John Boles' fedora and suits stepped right out of the 1930s.

Of grand and velvety anachronism, The Age of Innocence is an orchestrated tale of romantic longing. A polished and elegant, if incomplete, period romance about the "innocent" wife of a wealthy New Yorker in love with another woman who, never going beyond flirtation, envelops him in layers of Victorian repression and traps him between the emotions of love- passion and bourgeois social ethics. This is a story set in the stifling atmosphere of upper-class turn of the 19th century New York. This is a rather interesting plot, though not as successful as a love story than as a social commentary. It was enjoyable to discover the vastly different generations that preceded us.

Irene Dunne shines in this fine(one must remember it was the post-code 1930s)adaptation of the Edith Wharton novel, as Countess Ellen Olenska, an american born member of New York's high society, who was raised and married in Europe, far way from that city's strict society conventions, now an outsider in her own family. She returns to New York city because she wants to divorce her polish aristocrat husband, where she falls in love with young lawyer Newland Archer, her cousin's fiancé.

John Boles, as usual, is just so-so as Newland Archer, although I must say, that upon watching the movie I felt he was much more effective when impersonating him in his old age. This actor always reminds me of Robert Taylor, because although the latter achieved superstar stardom and had better looks, their acting abilities and inexpressiveness are roughly equivalent. As well, both served as "escorts" in many star vehicles of notable 1930s female stars: Irene Dunne, Barbara Stanwyck, etc.

Miss Dunne, an excellent comedienne and dramatic actress, had previously worked with Boles in the 1932 weepie "Back Street", and this film's plot is in the same category. She looks very beautiful indeed in period clothing. Julie Haydon is rightly "controlled" and restrained, as her cousin May.

Helen Westley gives the greatest performance among the supporting players, as Old Dowager Mrs. Manson Mingott, both Countess Olenska's and May's understanding and very warm grandmother. Laura Hope Crews is very good as Dunne's stuffy and very concerned aunt (and May's mother), and Lionel Atwill plays an unscrupulous "married man of bad reputation" who befriends Dunne, in spite of the scandal it may cause, in the opinion of her family.

Recommended viewing for '30s movie fans.

A lawyer attempting to obtain a divorce for a countess finds his growing love resisted by THE AGE OF INNOCENCE in which they lived.

Edith Wharton's celebrated novel, illustrating how personal happiness is often crushed by public propriety, is given a fine adaptation in this well-produced film from Radio Pictures. While the movie relentlessly features almost nothing but dialogue, it is always sophisticated and deals with matters still of some importance.

In a movie with so much talk the performances are paramount and they are all of a high order. Lovely Irene Dunne is radiant as the American countess restricted by society from following her heart. John Boles is very effective as the lawyer who must also either bow to convention or be crushed by it. Feisty Helen Westley steals nearly every scene she's in as Dunne's wealthy and outspoken Granny. Laura Hope Crews is perfectly cast as Westley's slightly flustered daughter, the mother of Boles' pretty fiancée, Julie Haydon. Herbert Yost is Crews' meek little husband, while splendid Lionel Atwill enjoys himself as a rich rascal operating on society's fringe.

Movie mavens will recognize Harry Beresford as a canny museum guard and Inez Palange as a stubborn Italian maid, both uncredited.

The jazzy montage which opens the film has virtually no relationship to anything that follows and serves only to wake the audience up.