When Martin Scorsese adapted Edith Wharton's novel The Age of Innocence into film (1993), many critics were surprised. The film is generally viewed as a strange departure from many of his other films, so much so that scant attention is paid to it in discussions of his work. On the surface, of course it may seem highly surprising that a filmmaker known and admired for dealing with the roughness of New York street life, as in Taxi Driver (1976), and with the violent codes and behaviour of the American-Italian Mafia, as in Mean Streets (1973) and GoodFellas (1990), turned his attention to what many critics simply perceive as a conventional costume drama in the vein of the British Merchant/Ivory productions. Vincent LoBrutto, for instance, places it in the genre of "costume epics" (2008: 335), suggesting that it shares several features and qualities of many other costume dramas. However, Scorsese himself has stated that his adaptation of Wharton's novel is his most violent film to that date (e.g., Stanley 1992). In my article, I argue that Scorsese's film does not constitute a strange departure, as LoBrutto and others seem to suggest. Instead, I examine the ways in which the film treats strict moral codes, rigid family structures and set loyalties which, often tacitly, govern people's lives and which are, indeed, similar to those governing Mafia conduct, which has been highlighted in several of the director's films; those who do not conform to the rules are punished. Wharton's novel was published in 1920 and focuses on the closed New York upper-class in the 1870s. The novel thus conducts a dialogue between 1920 and the past. Scorsese tunes into that dialogue and brings it into the 1990s, but as importantly his film also creates an interesting intertextual, or intercinematic relationship to many of his other films. It is that relationship that is in focus in the present article.
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