The Irishman (2019)

Today sees the UK release of Harriet, but only two weeks ago we got a brand new biopic from Martin Scorsese. For that I did a themed week around very long films, but this week’s theme means I can revisit that film and post a review. I liked it. I gather some didn’t or felt it somehow less consequential in Scorsese’s oeuvre, but a lot of people have been gunning for him for some throwaway but no less deeply felt comments about superhero movies. Still, there’s a place for everything in modern cinema, and even if three-and-a-half hour gangster epics are mostly being made for streaming services now, it was still a solid box office draw given the very large packed cinema I saw this one in on a Saturday afternoon.


Look, I mean yes Scorsese has some good films (even some great ones) in all genres, but the stuff he’s always been best at capturing is the world of gangsters — a shady world of men closed away behind dark glasses in subterranean lairs — but those worlds have changed as he’s got older. Now the gangsters are old too, they’re old men who have lost things in life, maybe lost everything, lost their friends, alienated their families and are just these old men, dying off and being forgotten. No matter how powerful you were, how much influence you had, eventually people forget your name, your legacy and everything that made you important when you were in your prime, and that’s eventually what it feels like he’s getting at by the end of this film. The de-aging technology has been much discussed, but even when these men are presumably playing 20 or 30-year-olds, back in the 1950s, they still look like old men, move in a hulking slow way — I don’t think that’s wrong for the characters, but in practice they always seem old no matter what the time period is. The timelines are all mixed up, though, as events from one era rush into those from another, because this is a story being told from the perspective of that old, forgotten gangster, as snippets of events seem to hit him and pull him along, and for all of its length, the film is never slow or boring, provided you like this slow-burning vibe that Scorsese is going for. Pacino does his usual big thing, though increasingly looking like Steve Van Zandt as he gets older in the film (and Little Steven is in the film too, in a small part, playing some old school crooner on stage I believe), but the rest of the cast are all about intensity, not least Joe Pesci, who feels like the real standout in this ensemble. It’s a good film, is what I’m saying.

The Irishman film posterCREDITS
Director Martin Scorsese; Writer Steven Zaillian (based on the non-fiction book I Heard You Paint Houses by Charles Brandt); Cinematographer Rodrigo Prieto; Starring Robert De Niro, Al Pacino, Joe Pesci, Ray Romano, Anna Paquin, Stephen Graham; Length 209 minutes.
Seen at Curzon Mayfair, London, Saturday 9 November 2019.

Criterion Sunday 70: The Last Temptation of Christ (1988)

It caused quite a commotion on its original release, but this adaptation of a 1955 novel by Greek writer Nikos Kazantzakis, is relatively restrained, all things considered. It asks us to imagine if Jesus Christ had lived a regular life instead of being crucified (had, in other words, given in to the temptation to avoid his fate), and uses that as a way to get inside the duality of Christ as man and as divine figure of grace and redemption. Then again, obviously there are a lot of people with a lot of knowledge on the subject, and a lot of opinions either way, so I can’t really say much beyond that it’s a compellingly made film with some excellent performances (not least Willem Dafoe in the title role), and beautiful cinematography from veteran lenser Michael Ballhaus. Harvey Keitel’s shock-headed Judas is a surprise, and not always a welcome one, and in general Jesus’s band of disciples seem more Brooklyn than Judaea, which can be troublesome when they’re set alongside the cast of local extras (it was filmed in Morocco), but the racial issues are left unexamined here. Instead, it’s a morality play with a very human leading performance, which is at least a change from most depictions of Jesus on film.


FILM REVIEW: Criterion Collection
Director Martin Scorsese; Writer Paul Schrader (based on the novel Ο Τελευταίος Πειρασμός O Teleutaios Peirasmos by Nikos Kazantzakis Νίκος Καζαντζάκης); Cinematographer Michael Ballhaus; Starring Willem Dafoe, Harvey Keitel, Barbara Hershey, Harry Dean Stanton; Length 162 minutes.

Seen at a friend’s home (DVD), London, Sunday 27 December 2015.

The Wolf of Wall Street (2013)

The cinema of Martin Scorsese quite often deals with self-regarding, testosterone-fuelled men. It’s a place to learn about the contemporary construction of masculinity more than anything else, and this is his latest chapter in that ongoing exploration, placing itself in the milieu of high finance — specifically a “boiler room” stockbroking firm from the late-1980s through the 1990s. This is the domain of self-made man — wise guy, almost — Jordan Belfort, played at full throttle by the still youthful-faced Leonardo DiCaprio, though he at least has the decency to look a little worn by the end. It’s been written up largely as a film of swearing, drugtaking and hedonism, but really it’s another periodic health check for the struggling ideal of the American Dream. It doesn’t preach or moralise, but the message is pretty relentlessly, propulsively, loudly clear for its three hours.

I made the error of looking at the recent 12 Years a Slave somewhat as a film trying to teach us about the evils of slavery — a lesson hardly needed, and certainly not at the heart of the film’s purpose. Likewise, you can’t really wonder if the The Wolf of Wall Street is trying to get across the idea that financial corruption is bad, or if the people involved are morally questionable. There is literally not a single character in the film that has any claim to our sympathies — the closest we get is the FBI agent Patrick (Kyle Chandler), but even he is given to pettiness, and hardly seems enthused by his life. I’d say there’s no one who is likeable, but most of them are likeable enough on their own level, which for most of them is a fairly amoral level. There’s pathos too (or perhaps I mean to say, most are pretty pathetic), but for the majority of the running time you can keep these guys at an arms’ length: they are not like us. They are embodiments of the primal, rampaging id, who have freed themselves from quotidian concerns through their relentless acquisition of wealth. It’s not until near the end, after nearly three hours of their childish petulance, that you get a sense for where it’s all headed — encapsulated by a underplayed final scene (introduced by the real Belfort) which brings Jordan back into something recognisably like our world.

Up to that point, though, things are blackly comic — madcap and slapstick at points — as Belfort struggles to build his wealth after the Wall Street firm where he begins his career goes bust in the 1987 crash. He restarts by trading penny stocks to working-class guys from a dowdy office in New Jersey, moving on to creating and enlarging his own firm with the help of his low-life friends, chief among them the garrulous Donnie (Jonah Hill in horn-rimmed specs and shell suits) and Nicky (P.J. Byrne), called “Rugrat” because of his glaring toupee. He marries a model blonde wife, Naomi (Margot Robbie) and lives a hard-partying lifestyle. The movie can indeed be charted largely by Jordan & co’s ingestion of narcotic substances, starting with a hit of a crack pipe with Donnie near the New Jersey office, before progressing primarily to cocaine (taken in various locations and, er, from various orifices) and Quaaludes. Most of the film is structured around Jordan getting loaded (making money, taking drugs), before the final act charts his rocky comedown — crashing not just from drugs and booze, but financially, maritally and even nautically.

It’s a classic story, and Scorsese really attacks it stylistically with all the tricks learnt from his many decades’ worth of filmmaking. It feels like the kind of free-wheeling spirit of Casino (1995), certainly in the glitziness of the enterprise, which matches that of the characters (or at least, their entitled sense of self-worth). DiCaprio gives a narration from Jordan’s point of view, even addressing himself directly to camera in a few scenes, as he explains his criminal enterprise with scarcely-concealed glee. There are freeze-frames and jump-cuts too, but this isn’t the vacuous-style-for-its-own-sake brand of filmmaking that you get from Scorsese’s latter-day imitators (to take one recent example amongst many, in Pain & Gain), but it adds to the deadening affect of this flamboyant world. Scorsese also reminds us that he is deft at comedy, whether it be the earnest discussions of humiliating excess (the dwarf-throwing that opens the film), or a marvellous sequence when DiCaprio needs to return home but finds himself floored by extra-strength Quaaludes — a scenario which might be done with all the hallucinogenic trippiness of Fear and Loathing in Las Vegas, but which Scorsese films from a fixed vantage point with no gimmicks or trickery, just documenting the physicality of DiCaprio’s performance, and which is all the funnier for it.

As a whole, the film feels a bit like this, like being the sober one at an increasingly riotous party, with people who are fun to be around initially, but whose drunken antics soon become quite draining. There’s no overt judgementalism about the narcotic excess (there are in fact many open proclamations of how enjoyable it is), but then there doesn’t need to be: this film hardly glorifies drug use, given it chooses avatars who are so existentially loathsome. If there’s a more potent criticism it would be that this remains very much a film about boys; there are women, but they are largely seen through the eyes of the (as I hope I’ve made clear, hardly upstanding) male protagonists, and therefore mostly sexualised and ultimately humiliated, although the warping power of money seems to blind everyone in the film to it. But despite this, it still feels fairly effortless as a film, while managing to give a real — and disturbing — sense of malaise, which, as we see in the final scene, is only just out of our reach and beyond our control.

The Wolf of Wall Street film posterCREDITS
Director Martin Scorsese; Writer Terence Winter (based on the memoir by Jordan Belfort); Cinematographer Rodrigo Prieto; Starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Kyle Chandler, P.J. Byrne; Length 179 minutes.
Seen at Genesis, London, Monday 27 January 2014.