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LFF REVIEW – THE IRISHMAN (2019)

LFF REVIEW – THE IRISHMAN (2019)

Directed by: Martin Scorsese

Written by: Stephen Zaillian – based on the book I Heard You Paint Houses by Charles Brandt

Produced by: Martin Scorsese, Robert De Niro, Jane Rosenthal, Gaston Pavlovich, Randall Emmett, Emma Tillinger Koskoff, Gerald Chamales, Irwin Winkler

Cast: Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel, Anna Paquin, Bobby Cannevale, Stephen Graham, Kathrine Narducci, Jesse Plemons, Jack Huston, Ray Romano, Stephanie Kurtzuba and many more.

Cinematography: Rodrigo Prieto

Distribution: Netflix

******MAY CONTAIN SPOILERS ******



“I heard you paint houses…”

As well as watching new films that have yet to be released, one of the pleasures of film festivals can be when the filmmakers, writers, crew and actors themselves attend and introduce their work. Having said that, I’m not usually one for big and lengthy introductions and back-slapping celebration. I’m also not one for star-gazing and celebrity-spotting hysteria. They are just human beings; let them get about their business in peace.

But, when the cinematic geniuses that are: Martin Scorsese, Robert DeNiro, Al Pacino and Harvey Keitel took to the stage for the premiere of THE IRISHMAN (2019), even I was star struck! Add the brilliant actors Stephen Graham, Anna Paquin and Jack Huston to the mix and I can confirm I was in the presence of all-round film greatness.



Scorsese is the best genre filmmaker still living today. But what of THE IRISHMAN (2019)? Is it yet another cinematic masterpiece to add to an incredible list of classics that Scorsese has directed? On first watch I would say both yes and no. I sit on a fence because the film is SO long, detailed and intense, I need another sitting to really nail an absolute opinion. It’s very, very good – BUT is it a great? I remember first watching Goodfellas (1990) and feeling dazed by the end of it. It is now one of my favourite films of all time.

First impressions are that, once again, Scorsese has delivered yet another impeccable film in the gangster movie genre. Film is a collaborative endeavour though and he has surrounded himself with an army of major talents in the production and acting departments. Robert De Niro, who himself, optioned the book on which the film is based, takes the lead as Frank Sheeran. In support are the aforementioned Al Pacino, Harvey Keitel, Stephen Graham, Anna Paquin, Jack Huston and the out-of-retirement Joe Pesci. All work from a superlative screenplay adaptation from uber-writer Steven Zaillian



The story is structured, in many ways, like another gangster classic, Once Upon a Time in America (1984). An elderly character looks back on key aspects on their life; the highs, the lows, the deals, the crimes, the relationships and the bloody carnage. Frank Sheeran, as delivered by De Niro and Scorsese, is another complex presentation of masculinity. He was a trained soldier who did his duty in World War II against the Nazis. Then, on return to America, he found himself driving trucks. With a family to support he finds he cannot turn down the chance to “paint houses” and carry out important work for the mob family run by Russell Bufalino (Joe Pesci). I must say that Pesci is a revelation as the quiet shot caller, in the shadows, giving orders out of the spotlight. His mob boss is the total opposite from the psychopaths he’s played before.

Talking of great performances, Al Pacino as Jimmy Hoffa steals the whole film. It is incredible to think this is the first Scorsese film he has been in. It was definitely worth the wait. De Niro himself is also impressive. His role as narrator and story conduit guides us through many exhilarating scenes involving gangland deals, explosive action and violent hits. Moreover, we are also compellingly embroiled in Hoffa’s Teamster Union business conflicts, as well as, some of the most iconic historical moments from U.S. politics and history.



Scorsese’s approach to style is less frenetic when compared to his other gangster films or the rapid velocity of say, The Wolf of Wall Street (2013). There are fireworks and gunfights of course, plus explosive arguments between the angry and powerful men which inhabited this era. The heated debates between Hoffa (Pacino) and Tony Provenzano (Stephen Graham) are especially memorable. Plus, I liked that Hoffa’s character had very specific demands in regard to time-keeping and punctuality. It’s beautifully filmed but the pace is not as say, rock and roll, as his other films. In one long tense sequence toward the end of the film, Scorsese uses silence rather than trademark rock music to enhance the visuals.

Overall, themes of death, murder, loyalty, friendship, politics and regret dominate the story narrative. From the nursing home where Frank Sheeran begins his epic tale, to the multitude of hits and shootouts we experience, the Grim Reaper follows these characters like a constant shadow. I wasn’t sure how I was meant to feel about Frank Sheeran by the end. He is a complex character who, as a trained killer, is difficult to empathise with. But his, the bosses and Hoffa’s stories are compelling nonetheless. However, the last part of the film raises a lot of emotionally painful questions with equally difficult answers.

Lastly, certain things about the film, such as the “de-aging” CGI and lengthy running time, detracted from my initial enjoyment. However, Netflix have an absolute monster of a gangster film here, with Scorsese once again delivering a very special cinematic offering. The irony is that it will only have a limited theatre release. THE IRISHMAN (2019), therefore, deserves to be painted and seen on the biggest screen you can find.

Mark: 9.5 out of 11


SOME FAVOURITE MOVIE DIALOGUE SCENES – #1

SOME FAVOURITE MOVIE DIALOGUE SCENES – #1

Cinema, historically, is seen as a visual medium telling its’ stories via wonderful imagery and sequences spliced together to traverse the collective vision of an omnipotent director.  And there have been some incredible filmmakers who have created fantastic visual landscapes to be marvelled at such as: Stanley Kubrik, David Lean, Ridley Scott, David Fincher, Andrei Tarkovsky and er. . . Michael Bay.  Yet, as much as I love the films of such ‘epic’ filmmakers you just can’t beat a brilliantly written piece of dialogue created by a screenwriter and delivered by an actor committed to the character and performance.

Bad dialogue will be on-the-nose, telling us the story specifically and reveal half-baked emotions from paper-thin characters; while great dialogue will tell us about character, theme, and subtext as well as make the audience laugh, cry and most importantly feel emotion.  I love dialogue which is both funny and dramatic and reveals the nature and dynamics of characters’ relationships; especially scenes where characters verbally abuse each other or have gone into meltdown mode.

So, here’s a random list of some of my favourite dialogue scenes and why I like them so much. But, of course, the dialogue would probably be nothing without some fine performances too.  I’m certain there’s many, many more scenes or monologues I’ve left out but as Osgood says to Jerry in SOME LIKE IT HOT – in one of the greatest final lines of any movie – “Nobody’s Perfect!”

(SPOILER ALERT and assumptions you have seen these films. If not, why not!?)

SOME LIKE IT HOT (1959)

 “Nobody’s Perfect!”

Voted one of, if not the best comedy ever by the American Film Institute this scene is a gimme. It is genuinely the funniest ending to a great comedy.  The dialogue is both hilarious and nails the characters’ personas right to the end. Cool heartthrob Joe (Tony Curtis) gets the ultimate blonde bombshell, Sugar (Marilyn Monroe) while hapless loser Jerry’s (Jack Lemmon) plan to marry for a big settlement backfires splendidly.  Lemmon was one of the greatest screen actors ever as he was able to do comedy, pathos and drama with wonderful timing and he shows that in this highly witty scene.

RESERVOIR DOGS (1992)

 “Why Am I Mr Pink?”

I love Tarantino’s dialogue. For me he’s the closest you’ll get to a 20th Century Shakespeare.  All his films – apart from Death Proof (2007) which I hate – have wonderful characters, casting and set-pieces. Most of his scripts tend to be a tad overlong  e.g. Kill Bill (2004) could and should have been one film. Therefore, because of its’ economy, muscular writing and fast pacing, Reservoir Dogs (1992), remains a major favourite of his ouevre.  I love the temporally jigsawed order, testosteronic cast and above all else, the hard-boiled dialogue. It’s lean, bruised and biting; spat out by unreconstructed men who are destined to die a violent, painful death.

The Mr Pink (Steve Buscemi) ‘I don’t tip’ scene deserves to be on this list but the one where they all get their names from big Joe Cabot (Lawrence Tierney) is a  diamond in a cluster of sparkling rough.  Industrial language crackles from the screen and the hilarious argument that ensues further sums up Mr Pink’s petty-minded character. Interestingly, this scene was not in the original screenplay and was added to the film during shooting.


MILLER’S CROSSING (1990)

“If you can’t trust a fix. What can you trust?”

The opening scene of Miller’s Crossing – like the whole movie – perfectly encapsulates the 1920s/1930s language of America as represented by, not actuality, but the works of noir novelists Dashiell Hammett and Raymond Chandler. The Coens’ postmodern vision creates a world of violence, dames, sluggers, double-crosses and prohibition-led organized crime. The scene begins with a speech by Italian gang-leader Johnny Caspar (Jon Polito) who espouses his “ethical” modus operandi on fight-fixing to soon-to-be-rival Leo (Albert Finney). While the dialogue crackles and pops; the scene also foregrounds all the key characters on screen at the time and those to appear later in the movie – notably John Turturro’s slimy bookie Bernie Birnbaum. You could probably do a Top 100 of great dialogue scenes from Coen Brothers’ movies and this is certainly up there with the best of them.

Johnny Caspar:  I’m talkin’ about friendship. I’m talkin’ about character. I’m talkin’ about – hell. Leo, I ain’t embarrassed to use the word – I’m talkin’ about ethics. It’s gettin’ so a businessman can’t expect no return from a fixed fight. Now, if you can’t trust a fix, what can you trust? For a good return, you gotta go bettin’ on chance – and then you’re back with anarchy, right back in the jungle.

MISERY (1990)

“He didn’t get out of the cockadoodie car!!”

Kathy Bates deservedly won an Oscar for her barnstorming performance as Annie Wilkes. Stephen King’s Wilkes’ is a charismatic lunatic who takes the ‘I’m your number one fan’ maxim to the extreme. This scene reveals more, in some ways, than the memorably gruesome ‘hobbling’ scene. It shows Wilkes’ skewed understanding of narrative by revealing her disgust at ‘cheating’ cliffhangers of Saturday morning serials.  While her language is funny, the delivery and anger in Bates’ performance is very unnerving as demonstrated by Caan’s stunned reaction when he realises he is in the company of a very disturbed individual.  Lastly, I actually agree with her!  They always cheated in those TV shows!

WITHNAIL & I (1986)

“What’s your name – Mcfuck?!”

Definitely in my top-ten-line-for-line-best-dialogue-ever-movies, WITHNAIL & I simply bursts with memorable spats, insults, one-liners and speeches.  I recall being incredibly drunk following a birthday party and watching this scene over and over again and almost choking on my own laughter.  It’s still quite early in the film but the relationship between permanently inebriated cowardly ‘thespian’ Withnail (Richard E. Grant) and the eponymous ‘I’ (Paul McGann) is perfectly crystallized in their exchanges with the dangerously lubricated Irish barfly.

Withnail not only reveals his ineptitude in facing physical confrontation but is more than happy to stitch his companion up in a scene which is later mirrored during their run-in with a randy bull. Moreover, the scene slyly sets up the character of Monty (Richard Griffiths) and the disastrous trip to the country, demonstrating great writing in burying such exposition within the comical encounter.  Bruce Robinson, arguably, never reached the heights of Withnail and I again unfortunately. But his screenplay is one of the greatest ever written; conversely making it one of the funniest and tragic films of all time.

ANNIE HALL (1977)

“I have to go Duane – I’m due back on Planet Earth.”

Arguably the most brilliant and prolific screenwriter/directors ever, Woody Allen’s movies – especially his ‘early, funny films’ – are jammed with gags, slapstick and cracking one-liners.  Allen’s cinematic art would mature and his hilarious romantic comedy Annie Hall forms a creative bridge between the joke-driven all-out comedies and the more dramatic works featured in Allen’s oeuvre. Annie Hall is obviously still of full of punchline-led scenes as it tells a classic boy-meets-girl-boy-breaks-up-with-girl-boy-analyses-where-it-all-went-wrong tale, only Allen could pull off.

I could’ve picked any number of great scenes from Annie Hall but one I always remember features the majestically intense – even as a youngster – Christopher Walken. It’s his only scene but he still stands out as Annie’s brother, Duane: a psychotic loner with suicidal tendencies.  His short but very dramatic monologue is perfectly delivered as Duane confesses a desire to kill himself in an automobile accident. Comedy arrives by virtue of Allen’s squirming reactions in the car with Duane and the final pay-off is an absolute treat.

BRIDESMAIDS (2011)

“I feel bad for your face!”

I love this scene because it really sums up Kristen Wiig’s unhappy-go-lucky-loser-status in the film.  Wiig’s Annie suffers a severe case of arrested development throughout and in the squabble with the young girl she should really be mature and know better. Annie’s in negative equity romantically and forever in the shadow of other more successful women and just as things cannot get any worse she enters into a ping-pong argument with this brattish teenager that escalates WAY out of control. It culminates in a wonderfully rude topper of a punchline that left me laughing my head off.  There’s also an element of wish fulfilment in there too as I would love to have let rip in a similar fashion during my time in customer service.

GLENGARRY GLEN ROSS – (1992)

“Fuck you! That’s my name!”

In Glengarry Glen Ross, Alec Baldwin plays the character Blake, almost earning the silver-tongued raconteur an Oscar for the role. He’s in ONE scene. ONE scene, yet because of David Mamet’s mercurial speech he steals the whole film.   This is no mean feat given the cast contains an annual Oscar Best Actor nominee list: Jack Lemmon, Al Pacino, Kevin Spacey, Ed Harris, Alan Arkin and Jonathan Pryce.  Blake’s speech is a rallying call for the sales team to raise their game, full of acronymic inspiration and cursing and flat-track bullying. It quickly turns to a litany of threats, abuse and monetary grandstanding as the sales guys just don’t respond to Blake’s aggressive personality.  I fucking hate sales jobs and they suck because of guys like Blake who do not care about the customer – just the dough!  Although having said that if I’d heard Mamet’s speech delivered by Baldwin I’d be ready to sell snow to the Eskimos.  He’s that good!