The director has made his most stylishly daring movie: one that is pointedly sapped of style.
Al Pacino in The Irishman. Photo: Netflix Martin Scorsese ranges toward extremes, which is why he’ll be a manic showboater in one movie and practice rigorous self-abnegation in the next. But his gingerly paced, three-and-a-half-hour The Irishman is something new: a self-abnegation movie set in the place where he normally showboats — the gangster dens of New York and other urban-crime hubs, among bosses, lackeys, hitmen, and their families, real and “made.
The movie is framed by Frank’s final days in a convalescent home, but it’s largely a flashback with its own flashbacks. The main thread is a long but mundane ’75 road trip with Frank at the wheel, his sometime boss and patron, Russell Bufalino , in the passenger seat, and the men’s wives in the back. They’re headed to a wedding with stops to collect payments from business owners on the way, but the vibe is so flat that it’s eerie.
But it’s great to see De Niro back with Scorsese, who needed a break from Leo and all those kid actors. After years of doing anything and everything and not seeming fully invested , De Niro is once more inspired to test himself. His Frank is a man who feels nothing specific yet is in evident pain throughout — which sometimes manifests itself in a toothless grimace that recalls Bela Lugosi but more often translates into stammers that suggest inner panic.
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