It’s a pity that most of the discussion around the release of The Irishman has been more focused on director Martin Scorsese’s controversial opinions on cinema than anything else. The discussion on the definition of ‘cinema’ is ironic as surely the great man himself would never have predicted the circumstances in which this three and a half hour epic would be made. Not only is this one of Scorsese’s most expensive movies but it is also available to watch on Netflix just a couple of weeks after release. You also have to wonder how Scorsese would feel about a sizeable portion of his audience watching his movie on portable devices rather than a classic cinema setting.

The other distinctive feature of The Irishman is that this is a film laden with CGI. Not in the destruction of cities that we are used to but in the brilliantly subtle de-aging that allows Robert De Niro to play a man at different ages between twenty-something and ninety-something. This allows Scorsese to flit back and forth through time with wild abandon. Yet, what initially starts off as a film in the same mould as Goodfellas, Casino or even The Wolf of Wall Street becomes something completely different in the final act. The signature flashy camera work and jukebox soundtrack eventually slow down and give way to a thoughtful study on the consequences of violence.

Robert De Niro plays Frank Sheeran who transforms from delivery driver to top mafia hit-man but he is not alone. Scorsese has assembled a ridiculously talented cast. Joe Pesci is as unpredictable as ever as a leading member of the mafia while Al Pacino is his usual shouty self as union leader Jimmy Hoffa which at least feels suited to the character. You notice how stuffed the movie is of acting titans when Harvey Keitel, Jesse Plemons and Anna Paquin barely get lines. De Niro himself is phenomenal. His sensitive, mannered portrayal reminds me of Leonardo DiCaprio in Once Upon a Time in Hollywood in that every movement suggests hidden and painful depths.

Apart from the familiarity of the first third when compared to Scorsese’s other works, it is difficult to find fault with The Irishman. For a movie with a formidable running time, it flies by which is due in part to the rat-a-tat dialogue by screenwriter Steve Zaillian. What it most reminded me of is Clint Eastwood’s Unforgiven in that it unpacks the consequences of leading a life of violence in thoughtful and unexpected ways. Like Unforgiven, this feels like a director’s conclusive word on a genre he helped define. And what Scorsese has to say is surprisingly touching. Whatever your definition of ‘cinema’ is, The Irishman is an unmissable masterpiece.

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Disclaimer Notice: Any thoughts and opinions expressed here are solely my own. Any images (copyrighted or otherwise) have been used according to Creative Commons and if needed, have been referenced to the best of my knowledge.

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