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The Irishman


I feel a bit guilty about this now but I decide to skip the option of seeing Martin Scorsese's latest film at the cinema and wait a week or so for its Netflix release. As with any film, it would have been better on the big screen but it's what it is.

The Irishman tells the story of Frank Sheeran, an Irish-American mafia hitman, and his links to the disappearance of union boss, Jimmy Hoffa. The film is based on a book by Charles Brandt called 'I Heard You Paint Houses', which refers to the blood from the exit wound of a hit. Martin Scorsese returns to the themes of criminal loyalty, machismo and the side effects of this kind of lifestyle, which pervade films like Goodfellas, Casino and even back to Mean Streets. The running time of 3 and a half hours may seem off-putting but there was nary a point where I felt my attention flagging and credit must go to writer, Steven Zaillian and Scorsese's (anything but) regular editor, Thelma Schoonmaker. And, of course, Scorsese knows his onions too.

The performances are roundly excellent, even Al Pacino's scenery-chewing wasn't too out of place for his character, Hoffa. In contrast, Robert De Niro is all hunched, unsure, conflicted - a great, nuanced turn from him. The stand-out though is Joe Pesci. As Reece Shearsmith said on Twitter,
Some of his looks in this film are extraordinary, like he's completely at home in the skin of the character. Like his well-known roles are Hulked inside of him. The conscience of the film is Sheeran's youngest daughter, Peggy, played icily well by Anna Paquin. As has been mentioned, she has very few lines but her enmity towards her father is felt via her silence. Other tips of the hat must go to Harvey Keitel, Stephen Graham and Ray Romano.


The time shifts throughout the film are handled well, and not just due to the 'de-aging' CGI techniques. It takes a little time to get used to seeing a 'younger' De Niro on screen but the gimmick wears off quickly enough. The locations and set design are fantastic and, along with the digital effects, go some way to explaining why this is supposedly Scorsese's most expensive film. The way Scorsese and Zaillian weave these characters through historical events such as The Bay of Pigs and JFK's (SPOILER!!) assassination is a real boon to history buffs and I think this brushing up to reality is one of the reasons it cracks along without the viewer drifting. There's a lot to cover story-wise and it's done with aplomb. Kind of wish I'd seen it at a cinema.

See also:

Can't go wrong with many Scorsese films but I'll say Goodfellas (1990) and Taxi Driver (1976), both with De Niro hitting worldies all over the fucking shop.

SPOILERS IN POD!! (Listen out for the different sound quality - human quality remains the same)

Listen to "The Irishman" on Spreaker.

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