Perhaps I’m not the best critic to draft this particular review. The Irishman is the latest film from legendary filmmaker Martin Scorsese returning to the genre that many casual filmgoers incorrectly associate him with, mafia gangster movies. In it, Scorsese also reunites with the actor most associated with his filmography and another legendary figure in cinema Robert DeNiro who plays Frank Sheeran, a former Pennsylvania mob hitman reflecting on his life of crime and association with notable figures such as Jimmy Hoffa (Al Pacino), Russell Bufalino (Joe Pesci), and Anthony Provenzano (Stephen Graham) among others. The reunion of these legendary actors in a film of this kind is particularly exciting for me as someone who counts the 1990 masterpiece Goodfellas as one of their top three favorite films of all-time. Despite this fact, I did enter into this film with my doubts. How would the newfangled de-aging CGI technology work onscreen? Aren’t DeNiro and Pacino past their primes? Isn’t another gangster film from this crew a little redundant? Maybe these low expectations and questions, when coupled with my fondness for their past output, explain why I loved this film so much and walked away in complete awe and appreciation for this one last gift they’ve bestowed upon us.
Through the journey of infamous union boss Jimmy Hoffa, The Irishman explores the nature of hubris, ego, and power. We meet Hoffa when he is already at the apex of his power in unionized America; a figure of great importance and reach. As the film continues and Hoffa finally falls victim to the dogged pursuit of the federal government, the former leader of the largest union in the United States has trouble reconciling the loss of his throne and the influence that comes with it, something that would eventually be his downfall as those familiar with his fate know. Hoffa’s stubbornness and obsession with reclaiming his past glory, even in the face of threats to his person from those with the means to carry it out, serve as a portrait of an accomplished man with pride addicted to being on top and an inability to cope with no longer having access to the trappings of his past glory. The reactions of those reluctant to loosen their gripe on the levers of power is a hot topic at the moment and in that sense, The Irishman speaks to our time.
The Irishman also feels like a bit of a tacit acknowledgement from Scorsese that the times they are a-changin’ and modern viewers are more apt to reject media that doesn’t take clear moral stances, as this film feels much more overtly critical of the lifestyle of its protagonist than Goodfellas or The Wolf of Wall Street before it. While this is a film about mob figures, it is also a story about a broken relationship between a father and his child. Frank’s daughter Peggy (played as a child by Lucy Gallina and as an adult by Anna Paquin) serves as the film’s conscience and through her, we are presented with the film’s parable about the costs of the gangster lifestyle Frank commits himself to. Peggy doesn’t say much but what she doesn’t provide through speech is made up for through the incredible unspoken dialogue she provides in every scene with Frank and Russell. Her silent judgement and disapproval of their actions is always there looming in the background, communicating to the audience the gravity of what the Mob does, but also serving as a sign of the crushing isolation and loss that awaits the older male characters by the end of the film. Serving the institutions that we commit ourselves to as working adults seems most important as we work to support ourselves and our families, but what The Irishman communicates is that losing sight of what truly matters, our family, friends, and loved ones who we are ostensibly working to support, will lead to a lonely, isolated end if you stop viewing your work as a means to an end and instead as the end itself.
The Irishman plays like one last hurrah from beloved legends for an adoring audience. The way the film integrates historical figures and moments like the Bay of Pigs or E. Howard Hunt was an added bonus for this lover of history. Robert DeNiro, Al Pacino, and Joe Pesci remind us of what made them so electric onscreen and why they are considered to be masters of their craft. In addition to these titans, new Scorsese collaborators like Stephen Graham and Ray Romano offer their own magnificent performances, with Graham and Pacino displaying an awe-inspiring level of chemistry in scenes that are sure to become instant classics. While some critics of the film may take issue with the lack of dialogue from Peggy, particularly because of the lack meaningful screen time for other female characters, Peggy’s silent observation throughout the film is part of what gives The Irishman its depth. Peggy serves as the judge of these gangsters’ sociopathy, the conscience not just of the film but of the characters themselves; the acknowledgement that their actions have consequences, consequences that Frank will not face until it is too late. Nonverbal acting can be impactful as well and what Lucy Gallina and Anna Pacquin offer in their performances is as powerful and loud as silence often can be.
The film is extremely well-paced and the three and-a-half hour run time is never really felt because the story is so engrossing. While it does slow down noticeably during the last thirty minutes or so, we come to see that it is in service of its theme exploring the doomed fate of our protagonist. The de-aging technology used in the film works wonders for Pesci, transporting him back in time to the actor we all know, but not as much for DeNiro. The legendary actor has aged noticeably around his eyes and that aging was still present despite the VFX working out the wrinkles on his face. Overall it wasn’t distracting, but still something that didn’t work 100 percent. Despite these two minor setbacks, The Irishman is the triumphant return of epic film-making from giants of cinema that we all love. Embarking on one last great story with this crew is a privilege all film lovers should take advantage of.
