THE IRISHMAN
US, 2019, 210 minutes, Colour.
Robert De Niro, Al Pacino, Joe Pesci, Ray Romano, Jesse Plemons, Anna Paquin, Stephen Graham, Bobby Cannavale, Harvey Keitel, Jack Huston, Paul Ben-Victor?, Barry Primus, Gary Basaraba.
Directed by Martin Scorsese.
With Director Martin Scorsese turning 77, it might have been thought that this could be his final film. Not so, not at all. He has several themes in the pipeline.
But, at 210 minutes, with some of his favourite actors over the decades, this is certainly a landmark Scorsese film. It takes him back into American crime and political history. It takes him back to the Kennedy era, the election of John F. Kennedy and conflicting influence of powers from Kennedy’s father to the Mafia, and the hostility, especially to Attorney General Robert Kennedy, of the Teamsters union, led by Jimmy Hoffa. The action continues into the Nixon era, campaign politicking, Watergate… Later sequences occur in the 1990s and into the beginning of the 21st-century. Almost a half-century of American history.
Scorsese has drawn on excellent writing credits. The film is based on I Heard You Paint Houses (euphemism for hits) by Charles Brandt, author of bestselling novels based on crimes Brandt solved through interrogation during his career as a homicide investigator, prosecutor and eventually, Chief Deputy Attorney General of the State of Delaware. The screenplay was written by Steven Zaillian whose credits include Awakenings, Schindler’s List, Gangs of New York.
And, the Irishman himself? He was Frank Sheeran (1920-2003 – worth Googling, especially for basic information in Wikipedia). After war service, he delivered meat, encountered Russell Bufalino, of the Bufalino crime family, became part of the family (an Irish exception to the Italians), at times a hitman, friend of Jimmy Hoffa, working for the Teamsters. Robert De Niro has excelled himself in Scorsese films (Mean Streets, Taxi Driver, Raging Bull, Goodfellas). This is his creative variation on the gangster character, often frowning, less often smiling, an opportunist, betraying loyalties, an interestingly complex character).
The framework of the film is Sheeran in a nursing home, visited by a daughter, reminiscing about his life, back to the early days and the encounter with Russell, the involvement with the pro-and anti-JFK factions, anti-Castro activity. There are further flashbacks to different periods but, especially travelling with Russell in 1975 to a wedding – and the time of Jimmy Hoffa’s disappearance.
Joe Pesci had also appeared in Scorsese films, winning an Oscar for Goodfellas, a more restrained performance here but nonetheless sinister and influential. Other Scorsese veterans appear including Harvey Keitel, Stephen Graham, Barry Primus. Also appearing are Ray Romano is a smilingly successful Bufalino lawyer, Jesse Plemons as Hoffa’s son, Anna Paquin as Frank’s daughter.
Al Pacino had not worked with Scorsese but here, as Jimmy Hoffa, chewing the scenery and others remorselessly, he steals the show when he is on screen.
Obviously, with such a running time, Scorsese is not in a hurry, does not have to take shortcuts, but immerses the audience in the periods, with the characters, whether we approve or disapprove of their behaviour.
In recent times, Scorsese is going back to some religious themes, especially, of course, in Silence. The Irishman is not just a portrait of Frank Sheeran as a criminal. It is a portrait of a man who has sinned, has not really repented – does not seem to know how – but, has an Irish Catholic background, the Catholic sacraments recurring thematically throughout the film, baptism, marriage, funerals (and there is also a cameo from Scorsese’s Jesuit friend and adviser, James Martin SJ). But, there is a final Catholic sequence with a young priest talking earnestly with Frank Sheeran in the nursing home, exploring possibilities of repentance, of forgiveness, of confession.
Reviewers and audiences are calling The Irishman “a masterpiece�. Who are we to quibble?
1. Martin Scorsese and his career? His films, casts, the constant themes? The writer, Steven Zaillian? Acclaim nominations?
2. American history, American politics, the Kennedy era, the Cuban crisis, Robert Kennedy as Attorney General? Jimmy Hoffa and the Teamsters? The role of the Mafia in these years? Crime families, hitmen, the consequences?
3. The 1950s and a further 50 to 60 years? The changing United States? Law, justice, politics? The different styles over the decades?
4. Chicago, Philadelphia, Detroit, the American cities? Homes, streets, Mafia families? Dinners and awards? Political sequences? The wide range of the songs from the musical score?
5. The framework, the home for the aged, Frank and his reflections on his life, the discussions with his daughter, possible reconciliation? The imported the discussions with the priest, the religious dimensions, sin, forgiveness, restitution and atonement?
6. The title, Frank and his Irish inheritance? Robert De Niro, screen presence, performance, the special effects to de-age him? His story, after World War II, his work, mechanic, driver, jobs, the various connections? The Bufalino family? Stealing, selling? His discussions with the Bufalino lawyer? The judge? His getting off? The contact with Russell? The connections, crime activity, hitmen, “Painting Houses�, wife, his relationship, family, the and Jimmy Hoffa, her reaction against her father?
7. The variety of Mafia connections and personalities? The functions? Frank and his presence, the connection with Jimmy Hoffa, friendship, working for him, bodyguard? The final contract, Frank forced to kill Hoffa? Frank and his ageing, his secrets, imprisonment, retirement home, acknowledgement? Repentance?
8. Russell Bufalino, his character, influence, taking sides in the Kennedy era, control of the family, employing Frank is a hitman, his growing wariness of Hoffa, ordering his death?
9. Jimmy Hoffa, Al Pacino’s performance and presence, frantic, the head of the Teamsters, his age, the clashes with Tony Pro? The government pressure? The animosity of Robert Kennedy? Jury tampering, his imprisonment? The bond with Peggy? Frank as his bodyguard?
10. The election of John F. Kennedy, those for and against, Frank and the CIA, carrying arms for Cuba? The Cuban crisis, the different perspectives, Mafia perspective?
11. Hoffa in prison, in prison with Tony Pro-, the continued clashes and animosity? Nixon commuting the sentence? From 1971, free, his continued plans for his return, Russell Bufalino becoming more suspicious of him?
12. The role of Frank Fitzsimmons, the head of the Teamsters, spending the pension money, the loans to the Mafia? The buildup to the confrontation with Hoffa?
13. Frank and Russell, the celebrity dinner and award, Russell suspicious of Hoffa, warning Frank? Urging him to confront Hoffa? Hoffa seeing himself as untouchable? His inside knowledge, threats, power?
14. 1975, the buildup to the wedding? Russell telling Frank to hit Hoffa? The details of the plan, the flight, the timing, Hoffa’s foster son and the other gangster? The timetable, to see Hoffa, his being alone in the house, Frank shooting him, the body cremated?
15. The subsequent fate of Frank and the other members of the Mafia? Before the grand jury, the accusations, being convicted? The experience of prison? Frank getting out, the home for the aged, his death?
16. The meeting with Peggy, the meeting with the priest, confession, the sacramental issues? His admission to killing Hoffa? Believed or not? His death?
17. Acclaim for the film? A Scorsese masterpiece?
