Thursday, February 6, 2020
Indeed, the film does feature other Scorsese gangster movie figures like Robert De Niro, Joe Pesci (in a complete 180 of his other Scorsese roles), and Harvey Keitel as well as being the director's first time working with Al Pacino. But to reduce both the film and the five aforementioned men's careers to this niche genre wouldn't do either of them justice. If anything, both focus on life and its flaws.
Don't expect The Irishman to be filled with guns a-blazin' and geysers of blood as you would with Goodfellas and Casino. (Granted, it does have those but not on the same scale as the earlier films.) This entry in Scorsese's oeuvre is more driven by conversation, much like his contemporary Francis Ford Coppola's The Godfather. But like with his gangster pictures from the 1990s, the passage of time is crucial to the story as well.
For some shrewd reason, there's been a lot of pieces on both the lack of lines for Anna Paquin (three lines consisting of seven words) and the overall small offering of female characters in Scorsese's films. The former makes sense if you pay attention to Peggy's character arc; she's witnessed firsthand what her's father capable of so her persistent silence speaks more volumes than any dialogue could. As for the latter, such thoughts were clearly written by those who haven't seen what Sandra Bernhard, Teri Garr, and Joanna Lumley had to offer in The King of Comedy, After Hours, and The Wolf of Wall Street respectively.
The sense of finality in The Irishman implies that this may be the last time we see Scorsese make something of this scale. That same sense during the third act seems more poignant with its aging leads. If this were to be Scorsese's last -- be it with gangster movies or his entire career -- it'd be a fitting swan song.
My Rating: ****1/2
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