導演在處理電影最後一幕時加入了一段原著所未提及的紐藍倒敘回憶(附圖六)。那是紐藍結婚後在紐波港巧遇艾倫的場景：艾倫站在海邊，斜倚欄杆望著夕陽。隔著一段遙遠的距離，紐藍凝視她那如雕像般的背影，心想如果在帆船經過灰石之前她回頭看我，我就去找她。但是艾倫並未轉頭，紐藍於是失望地離去。華頓的小說描述紐倫「注視著海灣內來來往往的帆船、遊艇、漁船以及由喧噪的拖輪拖著的運煤黑駁船掀起的層層波浪，涼亭內的艾倫也被這景色吸引」(The Age of Innocence 181-182)。史科西斯將原著場景簡化成ㄧ艘帆船由右至左經過灰石，帆船的行進對照如雕像般的艾倫，造成極大的對比，因為如果沒有移動的帆船，我們可能認為紐藍所見的景像，是ㄧ幅女子背面的畫像，ㄧ個「真人演畫」(tableau vivant)。布姬．皮克(Brigitte Peucker) 在《物質影像》(The Material Image) 中解釋「真人演畫」的特質:「它是一種結合繪畫、雕刻、戲劇的藝術形式，電影中所顯示當下的媒介物，使史科西斯的電影呈現出多種不同素材與模式，可呼應華頓小說中所呈現的各種藝術媒材」(26)。紐波港前艾倫背影的真人演畫製造出一種介於第繪畫二度空間與電影第三度空間的對話，導演特別藉由電影三度空間特色與華頓小說作互文的指涉。

除此以外，「真人演畫」連結靜止與運動的特色可引申為文學中死亡與復活的象徵。當紐藍坐在艾倫巴黎公寓下沉思是否要和艾倫重聚時，這段紐波港場景又重新在他的記憶中顯現，但出人意表地，艾倫卻轉過身來向紐藍微笑，原先如雕像般靜止的背影，卻在紐藍的回憶中成為迎面而來的微笑天使(附圖七)。柏絲薇爾(Parley Ann Boswell) 在《電影中的艾迪絲．華頓》(Edith Wharton on Film) ㄧ書中認為「與艾倫邂逅的回憶是紐藍真實生活中最重要的命脈」(130)。對紐藍而言，愛的回憶勝於與所愛的人在一起，回憶比真實還真實，虛像比實體更具體，因為在欲物的招喚下，他的自我已將失去愛客體內攝成為自我中殘餘的部分，那被貶抑的陰沉面，是不斷地從記憶裂痕中升起的幽魂。

     克里斯德瓦在《黑太陽》中討論憂鬱者自戀的特質：「憂傷是生命中唯一的客體，更明確地說，憂傷是他們漸漸依賴的客體取代物、也是迷戀它者的替代品。在這種狀況下，自殺並不是心靈爭戰反倒是因為內心過度憂傷。甚者，比自殺更嚴重的是追求不可能的愛，遠在天邊無法企及，如同與空無或死亡許諾」(13)。小說與電影中的紐藍窮其ㄧ身都在追尋不可企及的愛情，也嘗試在不同的替代品中重尋人生早期遺失的「母親－客體」，這種對於不可得之愛的冀望與想像構成《純真年代》小說與電影的主要中心軸線。而這想像是憂鬱的，就如同克里斯德瓦所說的，當主體與「母親－客體」分離時，它就想用語言來修復母性之愛。史科西斯與華頓都試圖以詩的語言/影像來招喚母性的符號，不斷重返母性憂鬱的宿命。

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