The Irishman (2019)

By Christian Eltell

Started on January 10, 2020

Critic Rating: 4/4 Stars

Scorsese, De Niro, Pacino, Pesci, Keitel. For the past 40+ years, these legends have given us history, a history of classic films and epic dramas about crime, gangsters, cops, criminals, etc. They have never failed to amaze us, and they prove it yet again with The Irishman, Scorsese’s latest crime drama, which contains all of the wonderful ingredients included in the filmmaker’s previous movies, such as loyalty and betrayal among thieves and murderers (Goodfellas, Casino), sociopaths and how to kill with guns (Taxi Driver), conflicted friendships (Mean Streets), corruption (The Departed), and other key elements. However, this film is Scorsese’s most emotionally sentimental, making us care for men who don’t deserve our respect.

De Niro plays Frank Sheeran, a man who looks back at his long career. He narrates the story, from serving in World War II, his days as a truck driver delivering meaty steaks to restaurants, to being a hitman and working closely with Teamsters union leader Jimmy Hoffa (Pacino). The man who gets Frank into Hoffa’s business and his affairs is Russell Bufalino (Pesci). Russ and Frank become lifelong friends, in good times and hard challenges. Sheeran also has two marriages and two daughters (one of whom is Peggy Sheeran). Peggy doesn’t say much, but she always looks at Frank and Russell with a sense of regret, as if she knows that her father and his friend are up to big but crooked business.

The digital de-aging has been used well in previous Marvel films, but for this crime drama, the effects brilliantly capture Frank, Jimmy, and Russell’s transformations over the years.

De Niro delivers one of his very best performances in years, portraying Frank as a focused and ruthless assassin, an ambitious businessman, and a loyal friend to Russ and Jimmy. We’ve seen many protagonists like Frank Sheeran before, but De Niro plays him with such a subtle and emotional complexity that we are in awe of him, and we feel his pain. Pacino, as always, is an energetic presence as Jimmy Hoffa, a man who fought for his union, was outspoken towards his enemies, and had lots of delicious ice cream. It’s unbelievable that this is Pacino’s first Scorsese film, and he gives us another memorable role. Pesci, who hasn’t had a major role like this since Casino in 1995, has a quiet but ruthless presence as Russ Bufalino. He isn’t physically violent or cold-blooded here compared to Goodfellas and Casino, but his words lead to others getting whacked.

Harvey Keitel’s role as Angelo Bruno is a bit too brief, but he has a wonderful scene with De Niro and Pesci, reminiscent of Mean Streets, in which he tells Frank that there are always consequences to one’s actions when orders aren’t followed correctly. Ray Romano, in a Scorsese film for the first time, adds some subtle laughs as Frank’s attorney, Bill Bufalino, as does Bobby Cannavale as Skinny Razor. Stephan Graham, as Anthony Provenzano, hilariously annoys Hoffa with his insults, his lateness in meetings, and wardrobe choices. Sebastian Maniscalco has a nice bit as a gangster who insults Frank and Russ in front of them, and Frank gives him what he deserves. Jesse Plemons, who was good in another gangster film, Black Mass, is also great here as Hoffa’s foster son, Chuckie O’Brien, and he has a comical scene in which he and another associate talk about a big fish. Anna Paquin’s role as Peggy was criticized for only having one line of dialogue, but for her, it’s not about what she says, but the way she looks at her father. It’s a brief role, and she could have said more, but Paquin, and Lucy Gallina as young Peggy, do an admirable job in displaying the character’s lack of sympathy for Frank due to his violent profession. Cheers to a brilliant ensemble!

Scorsese films are always beautiful to watch, and The Irishman is no exception. The nice cars, the wardrobe, the locations and set designs of the 50s through to the 90s, are exquisite. Frank’s kill scenes are bloody and visually stunning. Jimmy’s outbursts toward others are darkly comical. The best parts are Frank’s confrontations with Jimmy and Russ, and the saddest part is Frank being forced to choose one friend over the other.

The Irishman is, above all, a tragic mob story in which a hitman analyzes his career and, after all the friendships and success he’s achieved, is left filled with loss, regret, and loneliness in the end.

Movies like this are a rarity nowadays. This is indeed a collaboration for the ages. Thank you to all these legends for giving us a crime drama/mob epic for the 21st Century!