Despite it earning an ecstatic reception that wasn’t afforded to similar late-career, swing-for-the-fences experiments like Silence or Hugo, I struggled to get excited for Martin Scorsese’s latest picture. Somewhere between the film’s 3.5-hour runtime and my disappointment in seeing my ancient Unkie Marty fall back on his tried & true Gangster Epic template, I couldn’t help but meet the prospect of watching The Irishman with an exhausted shrug. I doubt I ever would have caught up with the film at all if it weren’t for its prominence in the current Oscars Discourse, as I’ve been outright bored by Scorsese’s most recent mobster-violence retreads The Departed & The Wolf of Wall Street in the past. Even as someone who’d count GoodFellas among his favorite films of all time, I struggle to see the need to return to this thematic territory yet again, especially from a filmmaker who has so many other kinds of stories to tell (and, sadly, so little time left to tell them). It turns out that I was both a little right and a little wrong in my skepticism. The Irishman finds plenty more to say about the corruption & violence of organized crime that Scorsese has not addressed in previous efforts. Unfortunately, it allows that new material to be drowned out by an overwhelming flood of the same-old-same-old.
Scorsese mascot Robert De Niro stars as a low-level mafia hitman who becomes the unlikely, trusted bodyguard of infamous union organizer Jimmy Hoffa – played by the explosively charismatic Al Pacino. Pacino remains a hoot throughout the picture, which almost forgives the endless hours that monotonously detail the behind-the-scenes corruption & violence on the union-mafia border. Classic Scorsese collaborators like Joe Pesci & Harvey Keitel are flanked by giddy-to-be-there “youngsters” like Ray Romano & Bobby Cannavale in a GooderFellers redux that serves mostly as a history lesson to a new generation about why Hoffa was important in his time and how his flagrant corruption forever altered public opinion on labor unions in America. Each cast member holds their own in this decades-spanning epic, despite a distracting, much-written-about “de-aging” effect that lands the film near the realm of the “theme park” superhero movies Scorsese has been having fun flippantly dismissing in the press. It’s just that they’re instructed to joylessly go through the motions of reliving Marty’s past Mean Streets/GoodFellas/Casino triumphs, deliberately stripping the onscreen power & violence of any potential misinterpreted cool. No matter how many times Scorsese’s past pictures have been willfully misinterpreted as dorm-poster posturing for Badass Antiheroes, they’ve always had that same grim, hyper-critical eye for this realm of hyperviolent bullies. Those movies were just never this dull or exhausting. Scorsese is essentially repenting here for the sin of being entertaining.
In theory, I appreciate the idea of Scorsese self-examining what a life spent submerged in all this violence is meant to accomplish. In its best moments, The Irishman is exactly that – featuring an ancient De Niro, retired from his Murderer for Hire days, unable to find meaning in the remaining scraps of his life. He self-justifies his “youthful” crimes as a soldier who was just following orders, one with a duty to “protect” his family by remaining well-employed. After three grueling hours of matter-of-fact violence & corruption, the movie finally finds him discovering just how empty all that dutiful brutality truly was. Faced with the idleness of obsoletion & an inability to mend familial bonds that were never really there to begin with (especially with a silently disgusted adult daughter played by an expertly icy Anna Paquin), he actually considers what he’s done with his life for the first time, and is haunted by what he finds. That’s the core of the movie! That’s new, fresh territory worth dwelling on & exploring at length in miserable sequences of domestic drama. Unfortunately, these scenes that get at what the movie is About are only a small blip in a grander picture, a flood of familiar faces & imagery from Scorsese’s past work. I could have fallen in love with The Irishman if it started with that final half-hour and really dug into the themes that distinguish it as a unique work in Scorsese’s catalog. As is, they’re treated more as dashes of seasoning rather than a proper meal.
Ultimately, The Irishman is Fine. It’s also easy to complain about and not entirely worth the effort, so in that sense I suppose it’s a perfect Oscar Movie. Part of me wishes that Scorsese had gotten all these accolades for something more demanding & daring like Silence instead, but I can’t begrudge one of our greatest living cinephiles getting recognized for his contributions to the artform – no matter the context. The only real hurdle here for most audiences is going to be its massive runtime, as everything else goes down relatively smooth (including the confounding “de-aging” tech, thanks to the growing ubiquity of CGI fuckery on the big screen). I’ve got my own personal reservations about the choice in subject matter & thematic emphasis, but no real fervor for shouting them at what appears to be an otherwise appreciative crowd.