It’s distracting only on initial impact, and for the most part easy enough to accept De Niro, Pacino and Pesci playing characters 20 or 30 years younger than them certainly, it’s leaps and bounds ahead of the old days of seasoned stars shot through so much gauze you could hardly see them. There’s as much hair dye as Brylcreem onscreen, but the combination of visual effects and makeup is fairly seamless. Much advance talk on the movie has focused on the de-aging technology developed by Lucasfilm’s Industrial Light & Magic to allow key cast to play the same characters over a number of decades. NY Film Festival: Scorsese Praises Netflix for Backing "Costly Experiment" of 'The Irishman'
And teaming here for the first time with the director, Al Pacino is in invigoratingly fine form as pugnacious labor union leader Jimmy Hoffa, the actor’s tendency toward grandstanding bluster deftly channeled into a hilariously colorful hothead, unable to control his irascibility and power-trip ego even as they dig his grave. As his mentor in the criminal underworld, Russell Bufalino, Joe Pesci emerges from retirement to give a superbly measured performance as a don whose quiet thoughtfulness and composure don’t soften his ruthlessness he’s the polar opposite of the lit-fuse firecrackers Pesci famously portrayed for Scorsese. It’s when his hardened, get-the-job-done grimace dissolves to hint at the conflicts within the WWII veteran turned mob heavy that Frank’s calloused humanity is revealed. De Niro may be playing the title figure but Frank is also the least flashy role, constrained to some degree by the inherent limitations in any middleman character. The movie is never less than engaging and its milieu at all times vivid and alive.Īnchoring the drama are three tremendously effective contrapuntal performances.
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It’s full of sinuous tracking shots from cinematographer Rodrigo Prieto that induce swoons sumptuous period production and costume design that evoke not just a vanished America but a near-extinct American movie realm and fluid cutting from indispensable Scorsese collaborator Thelma Schoonmaker, who maintains the flow even in patches when Steven Zaillian’s dense screenplay grows protracted. But The Irishman is also on many levels a beautifully crafted piece of deluxe cinema.
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