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The Irishman, Netflix movie review by Martin Scorsese



The Irishman it's probably one of the most "private" titles ever made Martin Scorsese. The director himself said it without half measures, praising important support from Netflix in the production of very large works with a very high budget (160 million dollars), which can be combined in practice with film studios.
Taken from a book I Heard You Paint House from Charles BrandtThe director's final efforts were initially set as long and complicated memories about life Frank "The Irish" Sheeran (Robert De Niro), showing him being a parent in a nursing home, locked in a wheelchair.
These are the premises of the stream of consciousness that turn into stories of the past, fading in a collective culture, which old Frank wants to tell directly to the public, but confess to viewers.

The onset of a petty criminal immediately leaves room for first important friendships, especially with mafia bosses Russell Bufalino (Joe Pesci), which took him in sympathy to welcome him under his wing, allowing it to grow rapidly in a criminal system that was made on the basis of mutual benefit.
Outside organized crime then the world of trade unions expanded, which at the time (we talked about the 50s and 60s above all) only had one big icon, Jimmy Hoffa (Al Pacino), leader Teamsters International Brotherhood and a true superstar of "unity" America. However, having to adapt to a corrupt social and political system, Hoffa was close to the Italian mafia and the Bufalino family, which made him meet with Frank and made them good friends. in a critical and conspiracy context.

The permanence of time, the permanence of action

Collaboration, sharing experiences, murder, election campaigns, betrayal, and executions make this the cause he hears the timelessness of time as the opposite of the immortality of the action taken; a song dedicated to the transformation of a country's culture that is now very changing and to the familiar of friendship and duty, tracing the contemporary in the evolution of emotions and human relations, in mortality that finally made us all, fragments fade from distant periods.
Attentive, intense and sentimental film, Irishman, where Scorsese collects and mixes brilliant pieces of filmography to be returned to think superomistically about the world of American gangsters, basically overcoming any exaltation or idealization of the criminal world which has long contributed to shaping through cinematographic media.
Each type of attraction is in fact set aside to get the gist of the relationship between the main protagonist, who lives, acts and contributes to carrying out reality which consists of uncontrolled commands, obligations and consequences.

More than saying how to do it Good people or casino (but in his own way even deep Wall Street Wolf) the appearance of a morally corrupt but seemingly unstoppable character that is disturbing – for whom we go further to cheer – the story of The Irishman is much closer to sensitivity and theme Once upon a time in America from Sergio Leone, with that share the same moodiness and the spirit of style in focusing and developing strong friendship constraints, in the same transformation, between internal and external freelancing agents.

However, the nostalgic look is mainly filtered by world views honest, from direct experience, it really is tend to manipulate events according to exhibition needs, deviating in this sense from Leone's work while remaining very much in line with the same philosophy of memory, with the same level of melancholy and emotions.

The structure of the work itself is a constant reference to cinema now crystallizes in memory collective films, to independence french noir and the interior is full of cigarette smoke, opaque lights and dangerous people discussing business, all arranged in a dramatic manner and registration want to be the most classic of Scorsese. Some later met again jump cut typical writer and derived from cryptic novuelle, me rallenty from Wall Street Wolf, improvements to the injection silence, a small sequential plan that is used solely and exclusively for exhibition purposes and is never polite: the entire director universe flows into one "feature-length framework" from his filmography, from his desires and fetish work relationships with actors and old friends.

Three by Scorsese

This new Irishman tried to drive away the existence of regret and sin without ever being a hypocrite or getting off track, in fact optimizing this natural look at the life and socio-cultural transformation of the country with hidden and gentle delicacies that shine especially from the eyes Frank Sheeran, which is from Robert De Niro has never been so good in recent years. All interpretations are played on the expressive expressions on their faces, even when they are reshaped in CGI for a de-aging needed to make him the total protagonist of the film, as he did Joe Pesci and Al Pacino. Speaking of technology, at first glance the initially alienating effect and seems to force viewers out of the high qualitative boundaries of the project. However, it is quite clear how it is just a matter of adaptation (but also in the amount of close-ups), because after a few minutes the face of De Niro's rejuvenation – which is then elaborated in post-production – starts to become credible and justified – and this also concerns de-aging maybe more successful (because it's lacking, it's good to remember) on characters Russel Bufalino and Jimmy Hoffa.

With De Niro, Pacino and Pesci offer a warm, passionate and passionate performance, and especially the pop star Al Pacino turned out to be possible more passionate and above character, the protagonist of some of the most pleasant and successful moments The Irishmanfrom clear sequence of scorsesian matrix and elaborate on screens with surgical precision from beautiful scripts Steven Zaillian.
Seeing this trio, above all sharp and impressive, turns out to be a different friendship that ties Frank to Bufalino and Hoffa, two very different ways to understand this kind of bond but are equally profound.

The Scorsese gangster film then intersects with American politics and history like never before, while giving a smaller and never straying view of the narrative plot of the story, which we describe begins, develops, and ends only around the figure of Frank Sheeran, his vision blurred and spiritually fearful of the past where tragedy and happiness have included equally important parts, defining him as a man, father, husband, and friend, which marks a part of the country's destiny. It's from The Irishman it's short romantic existential epics of immoral and profound crime, of the many characters who bring it to life, from the many actions that have condemned it. A gap from where to still peek a little is left of the cruel and cruel glory of a faded age.


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