To support the statement that the film should be a story that is ‘intimate’ rather than excited about the franchise, Martin Scorsese presents The Irishman; a film that intimidates the universe (cinematic) highway with a duration of three-and-a-half hours and is filled with characters who have more dialogue than blow things up.
The Irishman may reconstruct historical myths as Quentin Tarantino did in Once Upon A Time in Hollywood. Or maybe not, and he spoke facts. Because what was raised by Scorsese in this film is an incident in the political history sheet of American crime garrisiring which is still confusing truth. About the disappearance of Jimmy Hoffa, one of the business leaders in the American political arena, who was later reportedly killed. In The Irishman, the incident is told from the point of view of Frank Sheeran, a retired war meat delivery warrior who, thanks to his expertise, was employed as a house painter. It’s just that he doesn’t use paint or brush. House shooters are just code language for mafia gang assassins. Sheeran quickly gained the trust, he befriended important people in the mafia world. Including with Hoffa. And there is a possibility he was the one who killed Hoffa who was like his guardian brother in an assignment.
The narration takes place over a period of 60 years, or maybe more. The story flows from the present opening to the past, according to Frank Sheeran’s account. From an old Sheeran to a young Sheeran – also shown at a glance while he was still on the battlefield – to a more mature version of him. We will see a variety of versions of Robert De Niro, from those made use of computer effects to these senior actors – I no longer know which appearance the original form of the actor is in so smooth the visual effects of this film. In such a long span of time, we are shown parallels between the political world with the world of gangsters alias mafia. Is all this just engineering alias only happens in the film world or indeed that is the reality in the real world of America, or maybe even the whole world – including Indonesia, makes films more interesting to watch. Especially by conspiracy enthusiasts. In this film, we see that Sheeran’s mission is not just to eliminate the ‘colleagues’ who are screwed up or those who are not useful. But also smuggling firearms which turned out to be to quell the Cuban Revolution. JFK’s murder was also shown as interference from the mafia gang. The most exciting thing is, the long period of this narration implies the role of the mafia in politics is still ongoing until now.
The world of Games Online dan Offline syndicates full of people was shot on the spot, by this film never being glorified. Although indeed the way they work is dramatized. Because the film wants to present the mafia crime in the light of business – which is related to emphasizing the ‘needs’ of the characters. Those who work in that world move in the interests of the ruling class. Conflict comes from figures who have personal interests. Sheeran, in this case, has a family. Specifically, Sheeran’s relationship with her daughter is highlighted. The film chose to focus more on exploring character contemplation rather than action. We will indeed still see some scenes of action and crime, but most of the time is dedicated by the film to characters sitting quietly between dialogues. They are given room to think, carefully consider options before choosing action. So even though the story’s tempo is indeed slow, we will find lots of intense moments. What came was not grandiose, as simple as the silence they found a way to surpass the other party. Up to us the emotions can multiply because we will automatically anticipate the tussle.
Regarding this, it is undeniable that the long duration of this film really feels long. Because sometimes it is filled with less than the maximum. Sheeran with her daughter should get deeper digging and the impact of their relationship on the story should be made even bigger. Sheeran’s princess arc is made clearer and more meaningful. To be honest, as long as it is utilized maximally, actually long duration is not a problem. Especially seeing the people who work in front of and behind the scenes of this film – spending all day long I’m sure we are all willing. Scorsese ensures that the violent scenes he presents feel elegant, and does not drop the entire film into a dime that sells blood or even blasts. There is no ‘special’ camera choreography, no excessive use of cut. Everything feels very calm, and directed efficiently and appropriately. In other words, he does not make the typical mafia world the main selling point.
The final battle or the big confrontation in this film is not a shootout. Nor is it a long, dramatic dialogue about recognition or what. The Irishman’s climax is in the form of Hoffa’s murder sequence for almost half an hour. Not many directors are able to combine many scenes – many cut – into one long sequence by maintaining rhythm and build-up suspensions so that the punchline or the end of the sequence feels very kicking. Notice Scorsese doesn’t even use background music throughout the sequence; make tension even higher. The ending of this film is one of the best ending of the year, in my opinion, because it raises many questions and triggers discussion about the meaning and decision of the character to take action similar to what he saw in the middle of the film.