The Irishman (2019)

☆ ☆ ☆ ☆

The Irishman (2019) – M. Scorsese

Although it is hard to escape the feeling that Scorsese is repeating himself, I found The Irishman fully engrossing for most of its 3 ½ hour length (yes, I viewed this in one sitting using a Netflix free trial).  However, the “de-aging” technology created by Industrial Light & Magic (to allow seventy-somethings Robert De Niro and Al Pacino to play younger versions of their characters without make-up) is pretty disconcerting – De Niro (with blue contacts) looks almost like Alec Baldwin.  Nevertheless, if you are ready to return with Scorsese to the Fifties, Sixties, and Seventies (primarily) to see an aging hit-man (De Niro) who comes to work for Teamster boss Jimmy Hoffa (Pacino) negotiating his conflicting loyalties, between the mob (led by Joe Pesci with a cameo by Harvey Keitel) and obstinate Hoffa, then it is a good watch.  Scorsese uses all of the tricks of the trade – especially those that he is known for (travelling shots with music, etc.).  The acting is as good as it could be – Pesci underplays to great effect (especially given his polar opposite portrayal in Goodfellas, 1990).  Pacino tries (but fails) to escape his usual self and De Niro effectively disappears (more or less) into his character, who is rather stunted in any event.  In fact, it is hard to get a good read on De Niro’s Frank Sheeran – he is more an observer than a player, just following orders (whether it be to carry out hits or lead a local union branch – he’s a good soldier).  You can see why De Niro was overlooked when it came to acting award nominations since he isn’t very flashy – but solid as always.  Despite its length, however, it does seem that Scorsese gave short shrift to Sheeran’s family relationships (Anna Paquin has little to do as his estranged daughter) which makes the sad denouement a little less effective.  Still, Scorsese undoubtedly wanted to focus on the Pacino-Pesci-De Niro triumvirate and they are worth the price of admission.  So, think about this as Scorsese’s “greatest hits” album, bringing together all of his friends and past colleagues (including great editing from Thelma Schoonmaker), and you won’t be too far wrong.  Of course, he indulges himself (the film could have been shorter and tighter) but you want him to, don’t you?