The Irishman has been a labor of love 10 years in the making for Marin Scorsese. What’s not to like? You’ve got an esteemed filmmaker working within his wheelhouse of gangster movies. This is a genre the filmmaker does very well. Despite the superlatives you may have heard, it’s not his best work, but it is still very compelling.
The Irishman highlights a trio of great performances. There’s the irresistible opportunity to watch Robert De Niro and Joe Pesci reunite with director Martin Scorsese. They last worked together in Casino. Now let’s add Al Pacino to the cast, an actor who has surprisingly never worked with Scorsese. The chronicle is a sprawling epic about Frank Sheeran (Robert De Niro) who was an American labor union official. The story is told from his insider’s point of view as we follow his trajectory from World War II veteran to truck driver to hitman for the Philly mob and eventual union leader. His personality is focused and driven in brutal behavior but oddly detached. He has very little qualms about his murderous actions.
Sheeran meets Russell Bufalino (Joe Pesci) the head of the Northeastern Pennsylvania crime family. Joe Pesci is back in his first major screen role in almost a decade. Here he gives a very un-Pesci like performance. He made a name for himself playing flamboyant individuals in Goodfellas, Home Alone, My Cousin Vinny and Lethal Weapons 2,3, & 4. Here he subverts expectations with his understated display. He’s reserved but powerful. There’s a subtle brilliance to the performance. Bufalino subsequently introduces Sheeran to Jimmy Hoffa (Al Pacino), the forceful President of the Teamsters Union. For me, this is where the production really takes off. Once Al Pacino shows up portraying the labor union leader, the film gets its focus. He is unquestionably the MVP of this production. The chronicle becomes more engaging, particularly in the last hour where it builds to its conclusion.
The Irishman presents itself as a narrative account of history. The movie is a fascinating tale that begins with Frank Sheeran as an old man reflecting on the details of his life. Screenwriter Steven Zaillian adapts the drama based on the 2004 book I Heard You Paint Houses by investigator Charles Brandt. The book was based on his interviews with Frank Sheeran. Given its $150 million budget, this is Martin Scorsese’s most expensive production. For that you can thank costly CGI that de-ages these septuagenarians over the course of their lives. Much has been written about this decision. I noticed it at first, then accepted the technique after a while. It was never an issue after that. I don’t see it as any different than using prosthetics and makeup to artificially age an actor. It’s just that we now have the technology to this in reverse. Having these three actors playing the same role over the course of a lifetime gives their characters an added weight and poignancy. That emotional gravitas wouldn’t have been present if distinct actors had been cast at various stages. It adds to the extensive, all-encompassing nature of the saga.
The narrative recounts the events over 50 years. Whether Sheeran’s confessions are the gospel truth is certainly up for debate, but they do make a gripping — albeit taxing — tale. Given its three and a half hours, the aggressive runtime puts this squarely in the company of legendary works like Gone With the Wind, Ben-Hur, and Lawrence of Arabia. Those films justified their extreme length in a way that this film does not. I blame lots of little extended comedic vignettes that pop up occasionally. While amusing, the inclusion of so many doesn’t vindicate the extended runtime. However I still highly recommend this feature.
How you watch this movie will undoubtedly affect your enjoyment. In the past, cinema of this length was originally shown with an intermission. When The Irishman received a limited theatrical release on November 1, 2019, it was exhibited with no break whatsoever. Then it was subsequently made available on digital streaming through Netflix on November 27, less than a month later. I saw The Irishman on Netflix which is appropriate. That’s how the majority of the world will see this film. My experience was not confined to a seat for nearly four hours but rather over the span of two nights where I had the option of using a pause button. Seeing it at home provides the freedom to use the restroom, grab something to eat, or the opportunity to confirm just how many gangster movies Marin Scorsese has actually directed.* I thoroughly enjoyed it in that way.
11-27-19
* It’s six by the way (Mean Streets, Goodfellas, Casino, Gangs of New York, The Departed, The Irishman).
It’s no secret that films set during the Second World War far outnumber ones about other wars. Since 1998, the more well-known ones include Saving Private Ryan, The Thin Red Line, The Pianist, Letters from Iwo Jima, Fury, Hacksaw Ridge, Darkest Hour, and Dunkirk. There are so many others. My apologies if I missed your favorite. But what about pictures concerning the Great War? Some WWI movies rank among the greatest classics of all time: All Quiet on the Western Front, The Grand Illusion, Paths of Glory and Lawrence of Arabia. I wouldn’t immediately include a movie that just came out in the same company. Likewise, I would never describe a current release using the M-word*. A certain amount of time must pass. I’d say at least 10 years. However, 1917 is a good candidate to be considered both of these things in 2029.
Star Wars: The Rise of Skywalker might have set a record for the number of spontaneous bursts of applause I’ve ever experienced during a theatrical screening. I stopped counting when it reached double digits. It was an absolute love fest. My reaction was less enthusiastic but I can appreciate why the crowd embraced this so gleefully. The chronicle is heavy on scenes and displays that are specifically designed to appeal to longtime fans of the Star Wars franchise — especially admirers of the first set (and best) of three films often referred to as the classic trilogy. Director J.J. Abrams is a master at giving people exactly what they want. That is both boon and bane to the grand narrative arc of the three most recent Star Wars episodes.
I didn’t expect much from Jumanji: Welcome to the Jungle in 2017. I was pleasantly surprised. The feature was a fun adventure about four kids in the real world that inhabited the bodies of visually disparate avatars in a video game. The joke was how their personalities were matched up. For example, the shy nerdy boy (Alex Wolff) became a strong confident explorer (Dwayne Johnson) and a pretty but ditzy, self-centered girl (Madison Iseman) was reborn as a pudgy male archeologist (Jack Black). The concept was both innovative and funny. It wasn’t great art but it succeeded because it was entertaining.
Ever since actor Shia LaBeouf was arrested for drunk driving in 2008 the sordid events of his personal life have often overshadowed his work. He wrote this script based on his own life as a form of therapy while in rehab in 2017. While it may have helped him face his inner demons, those experiences should’ve remained on paper and never been acted out into an actual film. Someone once said great art comes from great pain. That person never saw this movie.
Fast Film Reviews 