American Gangster – Nothing else to say

Very few directors in my life time have been as unique or eclectic as the Coen brothers.

There are still three or so films of theirs I admit I need to see, but one only needs to see a couple to realize their talent. Even their “lesser” films are still interesting to watch (with the probable exemption of 2004’s The Ladykillers). They even managed to make a remake of the classic True Grit in 2010, and managed to make it just as effective (some would argue it is even better). Yet for all they have under their artistic belt, no film stuck to me (or the Academy) more so than their Best Picture winner of 2007, No Country for Old Men.

Based off of the book by Cormac McCarthy, what the film taught me as a film goer was patience. The film is not afraid to take its time before Llewelyn (Josh Brolin) stumbles upon the stolen money, and finds himself being chased by Anton Chigurgh (Javier Bardem). The pieces left behind are being picked up by the local Sheriff Ed Tom Bell (the pitch perfectly cast Tommy Lee Jones).

The Coen’s don’t mind taking their time giving us little subtle moments that, these days, require the viewer to stay off of their phone. The cat and mouse scenes between the aforementioned characters are basically Hitchockian.

This was one of two movies in 2007 that was a resurgence for Josh Brolin (the other being American Gangster, where he also shoots a dog). He had been in movies going as far back as The Goonies, but 2007 was the year that brought him truly into the public eye (it was not long before he was cast/immortalized as Thanos in the MCU).

Yet even with the immaculate performances from Jones and Brolin (not to mention Woody Harrelson and Kelly Macdonald), as well as the cinematography by the legend that is Roger Deakins, there is simply no way anyone cannot ignore Javier Bardem. His Anton Chigurgh is proof that not all fictional characters that are clearly psychopaths don’t have to be portrayed over the top. His is so emotionless and silent, but never the less ruthless. Add in the fact that (spoiler) he escapes and you have my pick for the best villain of the century so far.

Like many, I felt at the time the ending of the film was a bit abrupt and awkward, but I have come to accept it as clearly the right one (this was the same year as that wonderful finale for The Sopranos that confused a lot of people, myself included). Yet the Coen’s always played by their own rules. When the Coen’s won Best Director for the film (one of four Oscars it won, along with Picture, Screenplay, and Supporting Actor for Bardem), Joel said it best when he thanked everyone for letting them continue to play in their corner of the sandbox.

(As of this writing, No Country for Old Men can be found on MGM plus on Amazon).

Friendo.

Last year, when Netflix released the masterful film Roma, it was clear they were wanting the Academy to take them seriously. While it did win a good amount of awards (including Best Director), it did lose the big one, Best Picture, to Green Book (a film that, while charming at first, may be destined to be forgotten as time goes on). Much of this had to do with voters not liking the fact that a movie on a streaming service would win the night’s biggest honor, hoping instead for the winner to be one that was released theatrically.

Somewhat ironically, during the same Oscar telecast, we got the first (and very brief) teaser trailer for Martin Scorsese’s The Irishman, the film I personally have waited for all year. Along with Scoresese, names like De Niro, Pacino, Pesci, and Keitel filled the screen.

With Roma, Netflix was clearly swinging for the fences. With The Irishman, they are swinging for the parking lot past the outfield bleachers, which, bluntly put, is the result we get.

I admit that it takes me more than a viewing or two to totally understand even the best of mafia themed films, but I will do my best. The film tells the story of a real life mob hitman named Frank Sheeran (Robert De Niro, in his first Scorsese film in almost a quarter century). Towards the end of his life, we hear him narrate as he recalls making his way through the mob with the Buffalino Family, after encountering Russell Buffalino (Joe Pesci), Frank’s new employer who reports to the big boss Angelo (Harvey Keitel). Eventually, they make there connections with helping the infamous union leader Jimmy Hoffa (Al Pacino), the man now most famous for his mysterious disappearance.

There are others in the cast who fill their roles with uncanny professionalism, as we see actors like Jesse Plemons and Bobby Cannavale. Though the film is indeed a male dominated one, Anna Paquin does some of her best work in years as Peggy, one of Frank’s grown up daughters. Still, I was most delighted and surprised to see Ray Romano as Russell’s cousin who acts as Hoffa’s main attorney. I have always loved Romano ever since I saw Everybody Loves Raymond as a kid, but it never crossed my mind that he would be cast a lawyer in a Scorsese crime drama, much less be as good as he is.

The normal themes of Scorsese films are present. I am not just talking about the swearing and the violence. The master film maker has indeed been vocal about being influenced by his cathlocism, which is evident in his films (at least the ones I have seen). The thought of having one’s occupation take priority over one’s morality. The idea of characters feeling utter remorse after the act of sinning, and seeking forgiveness afterwards (similar to Raging Bull and Goodfellas).

Though The Irishman does stand as its own achievement, it probably has more in common with Goodfellas than any other Scorsese film. Both are about two separate men rising in the mob world, only to enter that aforementioned remorse at the end. Goodfellas did dive more into the “family” aspect of the mafia, as well as it being more biographical than The Irishman (which centers more on a part of life than the whole life).

Parents, there is no beating around the bush: the film is rated R for good reason. Even if there is no hint of sexual content (despite one or two times characters kiss), it is more than compensated for with the swearing and graphic violence.

It is not much of a surprise that the 2010s have not been the best of decades for either Robert De Niro, Al Pacino, or Joe Pesci (mainly since Pesci came out of retirement to do this film), at least when compared to past decades. That said, it is easy to say that it is the best any of them have been in years. Much of that credit should also be given to the film’s screenwriter, Oscar winner Steve Zallian (Schindler’s List, American Gangster, Moneyball).

We get a much more subtle De Niro than we are used to, but that does not make him any less affective. It is a little strange seeing Pesci being the authoritative figure to De Niro, but Pesci is just as brilliant even if he is not as bulldog crazy as he was in Goodfellas. The one with the most to do is Pacino. To me, Pacino has always been the only actor who you can always hear even if you put the mute button on. Here, he is not overacting because he chooses to, but because we sense that is how the character would be.

The three main lead actors are in their mid to late 70s, yet the special effects mixed with the superior acting makes us not think of anything but the story. The only flaw with the film (and it is as minor a flaw as can be) is that some moments do show the actor’s age (they can make the face look younger, but certain body movements do seem a lot slower for that young age).

One thing I have not yet mentioned is the runtime, which stands at nearly 3 ½ hours. Yes, that is a long time, but I assure you not one second of that is wasted. If the film seems slow, it is because it is patient in the storytelling (most notably in the last hour when we see Hoffa’s outcome. Nothing is on screen that does not need to be.

The Irishman clearly marked all of my expectations, and then some.

Overall: