Review: Irish – return to the golden era of mafia cinematography
For almost a quarter of a century, Martin Scorsese returned to the genre that once gave him an irreplaceable place in the history of film art, and returned with a taste and enthusiasm that I had never hoped for in his age and recent work.
The Irishman is a fantastic reminder of his cult era of mafia films from the 1990s and brings almost all genre legends back into play.
But above all, it is characterized by what must at least succeed for a film of this kind – completely unnoticed by the story.
Scorsese is such a legend that he can afford just about anything from his position. In his latest film, Tarantino opened up entirely to what he defined as a filmmaker, while Scorsese reverted to what he had historically defined. He opted for his traditional narrative structure, but at the same time risked an extremely slow pace that was more like the time in America or his godfather than Scorsese’s previous gangsters. The three and a half hour footage promised nothing else; It was clear that the Irish would prefer atmosphere, genius loci and a little nostalgia rather than action or the dynamic development of the story. And it was a hit.
The Irishman is – not at a pace, but in an emotional tone – something like two generations of older mafiosi, which doesn’t mean that he’s somehow senile or close to senility. While the last episode is closer to the existential melodrama about inner reconciliation with life and death, the Irishman is otherwise a surprisingly lively and fully functional film, the pace of which slows down, but which maintains what Scorsese has exceeded during his career – the Ability to give the impression of an epic worthy of the biggest screen. Unfortunately, it didn’t land there.
But it’s a bit symbolic. Netflix is at the peak of the VOD record format, and if any film has definitely proven that it can do absolutely everything in the world of cinematography, it’s the Irish. If, on the other hand, I could exchange all the films that I had seen in the cinema in the past few years, I would do so, because Scorsese’s ability to make a huge legend out of almost every film almost makes me regret Irish / Netflix ,
Robert De Niro, Al Pacino, Joe Pesci and Harvey Keitel returned to the Irish who, along with Scorsese, determined the history of the mafia films. I feared that instead of another sophisticated and stylistically unique epic, it would make more sense to repeat an unrepeatable era and to pull legends into a common project full of fictional nostalgia last time. Fortunately, I was wrong about this. Everything is possible for the Irishman, but not forced, flat or overly motivated. As for the actors who were all behind their summits a long time ago … well, maybe you just say that at least Al Pacino (but to a lesser extent everyone else) has returned to the summit with all the splendor.
One has to say that the Irish do not have to be appreciated by every spectator. If you don’t know a cross-section of Scorsese’s career – at least the gangster – you probably won’t drool like me about the very traditional and now iconic motifs Scorsese uses in his work, and you’ll often be surprised, not just told, about it become. But the atmosphere is moving in a different direction than expected five minutes ago. I perfectly enjoyed this stylistic return to classics and the symbolic climax of Scorsese’s mafia trilogy (Mafians, Casino, Irish), and it’s not impossible – on the contrary, it’s very likely – that Irish will become a similarly iconic classic. Who would say it would be possible in 2019, plus all the key characters in this very specific and unique genre.
The Irishman reflects a completely authentic Scorsese as we knew him. He plays with anticipation and excitement, despite his sophistication and retrospective conception, in a narrative structure that is clear and lively, and not least as an independent and context-independent whole, but also as a random nostalgic continuation of the notorious era. And if you love this era as much as I do, come back to those almost four wonderful hours when you thought you could never return. In this respect, it is clearly the best genre film and one of the best films of the third millennium. Total Scorsese Porn.
Drama / Crime / Thriller / Biographical
USA, 2019, 209 min
director: Martin Scorsese
Template: Charles Brandt
Actor: Robert De Niro, Al Pacino, Bobby Cannavale, Harvey Keitel, Ray Graham, Anna Paquin, Joseph Russo, Jeremy Luke and others