This story takes place in a time when propriety and decorum governed the upper classes with a rigid hand, and when appearances were everything. Lying just beneath society’s sparkling exterior, however, was a world steeped in hypocrisy and stifled passions…

In an elegant New York City Opera House, a large audience sits captivated by the dramatic performance onstage. All except Newland Archer (Daniel Day-Lewis), that is. He is far more interested in a box seat high above the crowd, wherein sits his pretty fiancé, May Welland (Winona Ryder) and her mother. As he fixes his opera glasses on them, we see a third occupant in the box: a pale, lovely woman who wears an air of mystery.

Mr. Archer discovers the stranger is none other than the Countess Ellen Olenska (Michelle Pfeiffer), May Welland’s cousin. Wed to a Polish Count years ago, the countess has returned to America to escape her soured marriage. Newland (Daniel Day-Lewis) remembers Ellen from childhood and pitying her sad situation, persuades May to announce their engagement following the opera. By creating a diversion, he hopes the gossips won’t pay as much attention to the countess. Everyone joyfully receives their engagement; Newland and May seem the perfect picture of romantic bliss. They enjoy each other’s company, never quarrel, and are eager for the wedding day to arrive. But we soon learn appearances can be deceiving. The countess wants a divorce and asks Mr. Archer, a lawyer by profession, to handle the proceedings.

Newland has heard vague rumors of Ellen’s scandalous life after her separation from the count, which includes a lover or two. In his mind, divorce is the worst option. The count would surely reveal the secrets of her illicit affairs and parade the lurid details on the front page of every newspaper. Ellen would become an instant outcast; everyone knows the inflexible Code of Society: society must ostracize people of such wicked character. They cannot continue to associate with the “Upstanding.” 

The ironic twist to this unwritten “law,” is many of Ellen’s would-be condemners (including her husband) have dark secrets of their own, which they’ve barely concealed from the prying eyes of society. Through their professional interactions, Ellen and Newland grow increasingly familiar. Her boldness refreshes him; she couldn’t care less what New York thinks of her and mocks their hypocrisy. In him she finds a sympathetic confidante and a source of comfort. As his intimacy with Ellen deepens, Newland feels troubled. His future with May suddenly seems dull and meaningless; the gay whirl of society, oppressive and dampening. Will their consuming passion take them beyond the point of no return?

This film is a feast for the eyes. The gorgeous, detailed costumes are breathtaking (the designer won an Oscar for her efforts and it’s easy to see why). They brought 1870s New York City to life with amazing accuracy and beauty, by overlooking no visual detail. The sumptuous scenery, sets, and props are overwhelming in their lavishness. It seemed as if the filmmakers were concentrating more on the set design than the plot, which may be why I found it difficult to become involved with the characters. Despite this flaw, the actors were nicely cast, especially Winona Ryder as the vapid fiancé.

Newland ultimately decides not to pursue a relationship with the countess, an action I applaud, but his motivation isn’t right. God commanded us not to commit adultery, but Newland’s decision comes from the fear of society, not the Lord. It’s a quiet film that moves along at a measured pace to a rather bittersweet ending. If you enjoy costume dramas (as I do) the stunning visual quality will well repay any disappointment you have with the storyline.

Sexual Content:

Ellen and Newland never progress beyond a tortured embrace or two, but the subject of adultery permeates the script. There is the vague insinuation that both Count and Countess Olenska had extramarital affairs, and another well-known gentleman keeps a mistress (she’s never called by that term).