The Irish (2019), by Martin Scorsese – Criticism

I get on my knees and deliver my applause to the direction, the acting, the script (impressive), the artistic direction, the camera movements, the makeup, and so on.

I went to see The Irishman to a cinema that had a giant screen, as giant is the movie in question. That is, after days after seeing it, and wanting to return to it as good as I can, I can not repeat the viewing on a domestic screen. This does not mean that you can not enjoy, and so much so, but once viewed in macro-screen, I will not settle to see her again in a small. But if there is no choice, I will resign. I will resign and enjoy it, yes. And another thing, in the viewing of which I speak I sat comfortably. But in the second, and having checked the excellence of the film, I will put myself in an attitude of veneration, kneeling, praying. Or even fearing that I will never be able to see cinema again in life. Because after seeing The IrishmanWhat can I see from now on?

Robert De Niro is apotheosic. Next to him, and at the same height, we have Joe Pesci, Al Pacino, Harvey Keitel …

Another detail on the sidelines of the film: I think Martin Scorsese and his boys have taken a blow at the table, as if to say: now you will know who we are, the old ones, in a blunt gerontocratic show. Our old idols show that they can bite meat, and well bite, by the way, with fury. Even with that, I get the impression that Martin and his boys have left their will written with gold letters with full awareness and intention, and it has come out as is: gold.

Account The Irishman the story of a gangster group, with a hitman who tells us the story very close to our ear. There it is, in such a role, Robert De Niro, who is apotheosic. Next to him, and at the same height, we have Joe Pesci, Al Pacino, Harvey Keitel, and so on. Apart from the protagonist narrator, the knot of the action revolves around whether Jimmy Hoffa, head of the truck drivers' union, and his companions on the scene could have been related to Kennedy's assassination. And also, if Frank Sheeran, the character played by Robert De Niro, killed Jimmy Hoffa or not, played by an Al Pacino who almost overflows in a memorable performance. And I say nothing about Joe Pesci, who was summoned by Martin Scorsese, the great alchemist, after numerous calls asking him, because Joe had been retired from the actor's job for years.

What Frank Sheeran tells is his own
life, since it began in the arts of organized crime until its last
days, prostrated in a wheelchair, in the introspective loneliness of the
Geriatric that keeps you in your last days. He also shows us his family,
with which he takes an attitude away, as if he doesn't want them to know what
is dedicated. However, all of his people know what he uses his time for,
especially his daughter, personified by Anna Paquin, in a role certainly
as discreet as fundamental. In fact, this daughter acts as a spiritual prosecutor,
who with few words seems to put himself in the place of the beholder. In
Consequently, we can understand that the question this daughter asks herself could
having been ours: why and why my father, Frank Sheeran, does what

A but that could be put to the
film is the use of digital arts, which we have to accept in the era
of hyper-technology. That is, digitization is necessary so that,
for example, Robert De Niro appears younger or thinner, or older, depending on
what corresponds in accordance with the passing of history. Without
However, after accepting this fact we deduce that there was no other alternative.
Saving this unimportant objection, I get on my knees and deliver my
applause to the direction, to the acting, to the script (impressive), to the
artistic direction, camera movements, makeup, etc. and

Synopsis Frank Sheeran was a World War II veteran, scammer and hitman who worked with some of the most prominent figures of the s. XX. ‘The Irish’ chronicle of one of the great unsolved mysteries of the country: the disappearance of the legendary trade unionist Jimmy Hoffa; a great journey through the murky intricacies of organized crime: its internal mechanisms, rivalries and its connection with politics.
country U.S
Direction Martin Scorsese
Script Steven Zaillian
Music Robbie robertson
Photography Rodrigo Prieto
Distribution Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel, Bobby Cannavale, Anna Paquin, Jack Huston, Ray Romano, Kathrine Narducci, Jesse Plemons, Domenick Lombardozzi, Stephen Graham, Jeremy Luke
Gender Thriller
Duration 210 min.
Original title The Irishman
Premiere 11/15/2019

The post The Irishman (2019), by Martin Scorsese – Crítica appeared first on The Cinema in the Shadow.