#1058: SCORSESE, Martin: The Irishman (2019)
SCORSESE, Martin (United States)
The Irishman [2019]
Spine #1058
Blu-ray
Martin Scorsese's cinematic mastery is on full display in this sweeping crime saga, which serves as an elegiac summation of his six-decade career. Left behind by the world, former hit man and union truck driver Frank Sheeran (Robert DeNiro) looks back from a nursing home on his life's journey through the ranks of organized crime: from his involvement with Philadelphia mob boss Russell Bufalino (Joe Pesci) to his association with Teamsters union head Jimmy Hoffa (Al Pacino) to the rift that forced him to choose between the two. An epic canvas of mid-twentieth-century American history, The Irishman (based on the real-life Sheeran's confessions, as told to writer Charles Brandt for the book I Heard You Paint Houses) is a uniquely reflective late-career triumph that balances its director's virtuoso set pieces with a profoundly personal rumination on aging, mortality, and the decisions and regrets that shape a life.
209 minutes
Color
Dolby Atmos
1:85:1 aspect ratio
Dolby Atmos
1:85:1 aspect ratio
Criterion Release 2020
Director/Writers
Based upon the book by Charles Brandt.
Screenplay by Steven Zaillian.
Martin Scorsese was 77 when he directed The Irishman.
Other Scorsese films in the Collection:
#1030: Scorsese Shorts (1963-1978)
#1198: Mean Streets (1973)
#1118: The Last Waltz (1978)
#1134: Raging Bull (1980)
#1185: After Hours (1985)
#70: The Last Temptation Of Christ (1988)
#913: The Age Of Innocence (1993)
#1062: Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese (2019)
The Film
Other Scorsese films in the Collection:
#1030: Scorsese Shorts (1963-1978)
#1198: Mean Streets (1973)
#1118: The Last Waltz (1978)
#1134: Raging Bull (1980)
#1185: After Hours (1985)
#70: The Last Temptation Of Christ (1988)
#913: The Age Of Innocence (1993)
#1062: Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese (2019)
The Film
Development hell. Usually this occurs when a studio shows some initial interest, then gets scared to death when the budget figures start to come in. Less than 2% of book options make it to the big screen.
The whole Netflix vs. theatrical release thing resulted in a big to-do when many theater chains refused to show it, citing insufficient time between big-screen and streaming.
The accountants claim that the film lost millions because of the Netflix deal. Since Netflix doesn’t release box office figures, it is anyone’s guess whether The Irishman made back its $200 million budget.
My guess is that if it hasn’t yet, it will. This Criterion release is a real beaut.
**
The opening shot is an uninterrupted traveling shot through a nursing home, which eventually finds Frank Sheeran (Robert DeNiro, possibly in his finest role of all time) in a wheelchair; Scorsese casually focuses on his gold ring and wristwatch …
In an absolutely stunning move, DeNiro’s voiceover changes to the character’s actual voice. It’s a subtle, but important detail. The old man is about to reveal the life he led in the next three-and-a-half hours.
Speaking of running time, I can always tell when a long film could have been shortened — I find myself squirming in my chair, and wanting to get up and get a snack or another cup of coffee.
Here, the 209 minutes passed in no time, and the film focused my attention throughout.
**
Why do we like films about the Mob? The violence, the unrelenting evil plotting, the greed, the political machinations which we all know are accurate, and (should) produce a nauseating sense of apathy?
The answer is simple. Because a well-made film like this one describes a reality which show the sewer-rats of society doing their business — despite genuine lawmakers like Bobby Kennedy (Jack Huston; grandson of John — onscreen for only a few minutes) and deeply corrupted men like Jimmy Hoffa (Al Pacino; a magnificent performance). Hoffa resented the Mob. Bye-bye, Jimmy …
Fact: John Kennedy really did become president because of the vote-rigging in Chicago.
Speaking of great performances, the most important character — along with Sheeran — is Russell Bufalino (Joe Pesci, talked out of retirement by DeNiro and Scorsese), a high-ranking wise guy, whose decisions are the main movers of the plot.
With the de-aging process Scorsese employed (a special three-headed camera!), the scene where Sheeran and Bufalino first meet at a gas station is crucial to an understanding of their future relationship.
Filling out the epic, are Angelo Bruno (Harvey Keitel); Bill Bufalino (a restrained Ray Romano); Skinny Razor (Bobby Cannavale); Peggy Sheeran (Anna Paquin); and a delightful short scene with Don Rickles (Jim Norton).
Robbie Robertson’s score (excluding diegetic music) is sparse, but perfectly folded in to the visuals.
Two other brilliant moves by Scorsese. The title of the book (“I Heard You Paint Houses”) is spread across the highway as Frank and Russell are traveling to Detroit, with their wives — who are heavy smokers, and since Russell doesn’t allow smoking in his car, they have to stop every few miles to let the ladies out to light up. Frank’s voiceover explains the reason — priceless …
The other is the supertitles over freeze-frames of the various characters who were brutally assassinated over the years. This is Scorsese’s not-too-subtle commentary on the dangers of Mob life.
Scorsese’s getting old. But not too old to surface from development hell with a film that defies the usual Hollywood treatment of superficiality and condescending bullshit. This film is a masterpiece.
Film Rating (0-60):
57
The ExtrasThe Booklet
Twenty-four page booklet featuring an essay by critic Geoffrey O’Brien.
“The film’s meanings are rooted in its performances, from the distinct inflections provided by those in even the tiniest roles to the central triad of Pesci, Pacino, and DeNiro. Each facet revealed by these three, by a stammer or a slight shift of vocal tone or mere immobility, is that of a fully imagined being. Such compression and mutual responsiveness here finds its ideal occasion. One can generalize about the characterizations — DeNiro as the almost bashful loyalist, ready to follow orders in one army or another without ever choosing the goal or questioning the cause, guarding an enormous but carefully controlled violence within himself; Pesci as the Machiavellian statesman with the air of a tribal sage, a politician of the most ancient and untender school; Pacino as the disruptive independent warrior, possessed by the exhilaration and rage of combat yet unique among them for having a certain joie de vivre, a capacity for genuine fondness — only to find further contradictions in each of them. These are performances that circle around each other, teasing out further edges with virtuosity.”
Commentary
None.
Roundtable conversation
Among Scorsese and actors De Niro, Pacino, and Pesci, originally recorded in 2019.
Very nice extra. Old men — all with unbelievable talent. Scorsese was able to retain complete control with no interference, and Netflix was smart enough to fund a three-and-a-half hour film.
Making “The Irishman”
A program featuring Scorsese, the lead actors, producers Emma Tillinger Koskoff, Jane Rosenthal, and Irwin Winkler; DP Rodrigo Prieto; and others from the cast and crew.
Making “The Irishman”
A program featuring Scorsese, the lead actors, producers Emma Tillinger Koskoff, Jane Rosenthal, and Irwin Winkler; DP Rodrigo Prieto; and others from the cast and crew.
Lots of good info.
Gangsters’ Requiem
A video essay by film critic Farran Smith Nehme about The Irishman’s synthesis of Scorsese’s singular formal style.
Gangsters’ Requiem
A video essay by film critic Farran Smith Nehme about The Irishman’s synthesis of Scorsese’s singular formal style.
Nehme is always good. She discusses how Scorsese’s choices come from years of experience — and he’s not afraid to do things differently.
One of my favorite weird shots is when Frank is standing in line at a bank to see his daughter, Peggy. She walks away from her teller post, and Scorsese first denies us Frank’s initial reaction, instead shooting him from behind, before revealing his facial expression.
Anatomy of a Scene: “The Irishman”
A 2020 program featuring Scorsese’s analysis of the Frank Sheeran Appreciation Night scene from the film.
Shot choices. Plot points achieved with only facial expressions — Peggy watching Russell and Tony Pro (Stephen Graham) whispering … excellent look at a perfectly realized scene.
The Evolution of Digital De-aging
A 2019 program on the visual effects created for the film.
Complex software/hardware that will change the way films are made. Mind-blowing human ingenuity.
Excerpted interviews
With Frank “the Irishman” Sheeran and Teamsters trade-union leader Jimmy Hoffa from 1999 and 1963.
Excerpted interviews
With Frank “the Irishman” Sheeran and Teamsters trade-union leader Jimmy Hoffa from 1999 and 1963.
The Sheeran interview is spine-tingling. He would have no reason to lie at this point. It seems we probably know for sure who painted Hoffa’s house.
Trailer and teaser
All good.
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