grimmer

The Irishman

Despite its long run time, this film is perfect. It’s beautiful in every way, the music, acting and sets are all flawless. I would happily re-watch this film again and again, it was truly spectacular and may be one of my favourites of all time.

sky

The Irishman

yes,i have fear of getting old thanks Scorsese

breakfastcowl

The Irishman

So much good writing on here about this, y'all got some good thinks going on. What a career summation, a life summation this all is. Considered crime drama nightcap, sipping fearfully before the abyss takes hold. If anything I've needed to sort myself on its technical side. The much lauded "de-aging" aspect. It's been hard to accept, but I think I've softened towards the process thanks to listening to Scorsese speak to it. He makes a 1:1 comparison to traditional prosthetic and makeup techniques, with specific reference points of Dustin Hoffman in Little Big Man and John Hurt in The Elephant Man. Fidelity to the real world or even young actor... not the intent. Fidelity to the character/persona, much more important, while in concert with the actor being filmed "straight" on set. Uncanny valley though it remains for me, this sourcing of an actor's legacy personas and implementation on a living performance helps differentiate the process from the ghoulish fabrications that end us up with the hell modern Star Wars and its ilk are invested in. This is also the most major application attempted with anything like it; that is, on a deeply character-driven story at length with a handful of the world's most famous faces. All that to say, I can better accept the "in-game cutscene" quality on what is a moving, deeply felt reckoning with a lot of the filmmakers' own art and legacy.

joaomarco2003

The Irishman

“You don't know how fast time goes by until you get there“ Todo destaque ao trabalho de Schoonmaker é pouco, mas aqui em The Irishman, sua precisão parece operar em conjunto com os longos esticamentos temporais que Scorsese organiza para compreender o peso da temporalidade que recai sobre o ombro de seus personagens, especialmente Frank. É, basicamente, um exorcismo autoreflexivo: após décadas de glamourização da figura do gangster e do auxílio na construção cultural do cinema de máfia hollywoodiano, o cineasta volta seus olhos para a decadência e ensaia sobre os instantes que antecedem não apenas a morte, mas a solidão de uma existência desperdiçada. O plano final é a consolidação disso: um gesto particular, uma memória íntima e o vazio de alguém que perdeu tudo. O que vem depois da gloria?