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CAST
ROBERT DE NIRO
BOBBY CANNAVALE
STEPHEN GRAHAM
PAUL HERMAN
JACK HUSTON
HARVEY KEITEL
STEPHANIE KURTZUBA
DOMENICK LOMBARDOZZI
KATHRINE NARDUCCI
AL PACINO
ANNA PAQUIN
JESSE PLEMONS
JOE PESCI
RAY ROMANO
BASED ON THE BOOK “YOU PAINT HOUSES. DON’T YOU?” WRITTEN BY CHARLES BRANDT
SCREENPLAY BY
STEVEN ZAILLIAN
PRODUCED BY
GERALD CHAMALES
ROBERT DE NIRO
RANDALL EMMETT
GABRIELE ISRAILOVICI
GASTON PAVLOVICH
JANE ROSENTHAL
MARTIN SCORSESE
EMMA TILLINGER KOSKOFF
IRWIN WINKLER
DIRECTED BY
MARTIN SCORSESE
GENRE
CRIME
DRAMA
HISTORY
RATED
AUS:MA
UK:15
USA:R
RUNNING TIME
209 MIN |
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Epic crime movie filmmaking filled with a surprising reservoir of emotion, and a masterclass of practical and visual craftsmanship, The Irishman also boasts an assemblage of legendary performers who all deliver in one of Martin Scorsese’s best films.
So much of our lives is devoted to loyalty. It can be to family, to a religion, to a country, to a creed, or even to politics. Sometimes there can be conflicts between the two, with the consequences feeble, or even fatal in severity. That line between loyalty and fanaticism is thin. Notorious mob hit man Frank Sheeran (played in The Irishman by Robert De Niro) was a loyal man, and as described in his highly contentious memoir “You Paint Houses, Don’t You?”, his life was one of servitude.
A veteran of WWII, his post-war life began as a hardworking joe, providing for his growing family as a bus driver in Philadelphia. A chance encounter with notorious mobster Russell Bufalino (Joe Pesci) leads to thievery, and then eventually murder as a hit man for hire. “Painting houses” means to splatter the blood of his victims of the wall. His loyalty to the Philladelphia mafia led by Angelo Bruno (Harvey Keitel) is one written in blood.
It was Sheeran’s relationship with notorious union leader Jimmy Hoffa (Al Pacino) that reached new levels of success and tragedy. Originally hired as a fellow union ‘brother’ to protect, who was a prized asset of the mob, a strong friendship is forged between the two, which is put to the test when Hoffa and the mafia have a falling out that is deadly in consequences.
Scorsese, along with screenwriter Steve Zaillian (Moneyball) expertly centres this sprawling, faux-history laden story as one about Sheeran’s straddling the line between his loyalty to Bufalino and the mob, and to his friend Hoffa. There is a simplicity to Sheeran’s life philosophy of “do what is told, ask questions never” that eventually comes back to bite him later in life, as a lonely old man filled with regrets, yet no one to share it with.
De Niro is fantastic as Sheeran, holding the screen for the majority of the films 3 hour plus runtime in a role that spans decades, and grows with changes subtle yet profound, as time is tested by unconventional challenges and the ever looming hand of death, usually brought on by his own trigger finger.
Al Pacino brings to life the firebrand that was Jimmy Hoffa, with a turn ferocious and charismatic, the legendary actor portraying that stubbornness and ego-driven temper that saw Hoffa turn from union leader celebrity, to despised enemy of the mob. The screen cackles with energy whenever he appears, and like a super-predator, he chews the scenery with precision and finality. Pesci counters with a surprisingly subtle turn, as the semi-retired actor known for his violent bombast in Scorsese’s films playing the role of Bufalino with a cold, calculated precision, where every look translates a thousand words.
Supporting turns by Ray Ramano as a slippery mob lawyer, Harvey Keitel as an intimidating mob boss, and especially Stephen Graham as violent mobster Tony Campo, are also terrific.
Set over 60 years, The Irishman features an impressive collage of locations, costumes, and excellent art direction, all wonderful shot by cinematographer Rodrigo Prieto (Silence). The use of de-aging technology that transforms these 70 plus year old acting legends into younger versions of themselves is quite amazing in its design and application. At 209 minutes, The Irishman impressively never misses a beat, nor wavers in momentum. With Scorsese’s long-time collaborator Thelma Shoomaker editing, Scorsese is able to dictate a methodical pace that allows its characters and their story to breathe.
Scorsese utilises many of his trademarks, such as tracking shots and narration, yet wisely does not duplicate what he did with Goodfellas and Casino. The Irishman is not that kind of crime movie. Rather, it is a reflection, a meditation, and a confession. It’s a gangster movie of surprising depth and emotion. It’s Scorsese again at his best.
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