The Irishman (2019): The End of a Saga

Rating: 8/10 (4 December 2019)

In as much as it closes the circle begun with "Mean Streets "The Irishman "is much less the typical stylistic bloodfest gangster movie and more a somewhat nostalgic and sobering look at what it means to be human, exploring ,as it does, some universal themes of loyalty ,friendship,weakness,power,love ,and most of all mortality. All within the construct of the gangster idiom.
Is frank's soldier mentality a weakness or a strength ,especially since it leads to the deaths of others.? Does his love of his family and loyalty to his friends make him any less of a psychopath,who feels no remorse for his crimes but can nevertheless tear up at the assasination of his boss's enemy Jack Kennedy.
There are of course many references to earlier chapters in the saga. The opening tracking shot introducing us to the care room reminds us of the dolly shot in "Mean Streets" where Harvey Keitel seems to float through the air in his entry to the night club to the music of the Stones. The racist slurs from Hoffa echo Keitel's concern about being seen dating a black woman in" Mean Streets."
Whilst there are several reminders of"Goodfellas"-Frank's stomping on the grocer,his excessive reaction to his daughter being pushed,reminding us of Liotta's pistol whipping the guy who makes a pass at Karen ,and the near kicking to death of Billy Batts. Hoffa's comment on everyone being called Tony reminds us of Karen's "everyone's called Paulie or Maria "in "Goodfellas". There's a garotting in a car in both films and various shots to the head.
But the difference is that these fellas are not outsiders/outlaws ,but part of the very fabric of power and all the more sinister and chilling for that.
It is a typically grandiose production from the master with all the usual suspects doing what they do best with Pesci for me the standout in one of his most understated performances as Mephistopheles to Frank's Faust,the brains behind so many thrones. De Niro by contrast comes over as a bit one paced at times. Pacino climbs to the top on several occasions, threatening to go over as usual but only just restraining himself. Several excellent cameos from supporting characters Tony Pro,Salerno, Joey Gallo,contribute greatly to the real life feel of the whole enterprise:as does the blackest of humour,much of it of a racist hue. Sepia tones and ambient lighting ,together with the usual trademark effective use of contemporaneous music helps ground the action in the time periods covered ,whilst Robbie Robertson's original soundtrack contributes atmosphere.
Much has been made of the lack of an intermission but it would have been hard to locate a suitable juncture.
The slow protracted build up to the Hoffa assasination was very effective in heightening what was for Frank his most difficult and tense moment,but perhaps some trimming could have been done thereafter as we proceeded to follow the rest of the cast to the exit door.
A great watch.