KNERTEN & SJØORMEN 2020


Release Date | : | 2020-09-11 |
Runtime | : | 0 min. |
Genres | : | Family |
Production Company | : | Paradox Spillefilm |
Casts | : | Espen Lervaag, Filip Mathias Eide, Anette Hoff, Silya Nymoen, Silje Storstein |
Plot Keywords | : |
This time, they travel on holiday with Aunt Thea to Summer Island. There they meet Eddy who is an expert on all the challenges they can face on a magical island. It is rumored that a sea worm has been observed in the fjord, and it will not be long before the energetic sea worm expert Blegen shows up, with his strange devices and instruments. It will be an exciting summer holiday with friendship put to the test, exploration in nature and the hunt for the mysterious sea worm.
Far too long, but the existential and eschatological elements make up for it
Based on the 2004 book by Charles Brandt, I Heard You Paint Houses, written for the screen by Steven Zaillian, and directed by Martin Scorsese, The Irishman is about aging, loss, taking stock. One of the best reviewed films in years, although I certainly don't disagree that it has masterful elements, I felt it was just too long. Don't get me wrong, I have no problem with long films – I'm a fan of pictures such as The Godfather Part II (1974), Once Upon a Time in America (1984), Sátántangó (1984), Dances with Wolves (1990), The Tree of Life (2011). However, such length has to be narratively justified, and I just felt that in The Irishman, it wasn't, with the film's 206 minutes occasionally feeling padded and (dare I say it) self-indulgent.
In 2003 Frank Sheeran (Robert De Niro), living in a nursing home and close to death, tells the story of his time as the go-to hitman for the Bufalino crime family. In 1954, he becomes friends with family patriarch Russell Bufalino (Joe Pesci), and soon, Bufalino has him carrying out various hits. Later, Bufalino introduces him to Jimmy Hoffa (Al Pacino), president of the Mob-funded Teamsters union. Facing federal investigation, Hoffa is volatile, unpredictable, and confrontational and Bufalino wants Sheeran to keep him out of trouble. However, as the years go by, Hoffa continues to antagonise his Mob backers, and some of them soon come to see him as more of a liability than an asset.
The Irishman is written in regret. Sheeran spends much of the film trying to ameliorate his relationship with his daughter Peggy (played by Lucy Gallina as a child and Anna Paquin as an adult), who knows what he does for a living, and despises him for it. Another important thematic element is that as each gangster appears for the first time, a subtitle tells us who they are, and lists the date of their deaths and how they were murdered. There's no better illustration of just how concerned the film is with the nature of transience.
In the last act, this is distilled down to its very essence, essentially positing that the only important thing you leave behind is your relationships with other people, and Sheeran has badly mismanaged his, resulting in him sitting alone in a nursing home at Christmas. In GoodFellas and Casino, the protagonists lose their wealth, possessions, status, but in The Irishman, the loss is more existential – Sheeran loses his soul. It's also impossible not to see the meta dimension – Scorsese himself looking back on his career, remembering the classics of yesteryear, keenly aware that old-age is stalking him.
In terms of the acting, although Pacino is fun (I would gladly watch an entire film composed of nothing but him and Stephen Graham, who plays a rival Teamster, insulting one another), it's not an especially accurate depiction of the real Hoffa (Jack Nicholson's less flamboyant depiction was much more authentic). As for De Niro, this is his first not-phoned-in performance in decades, and he imbues the character with an interiority that speaks to his sociopathy if not necessarily his psychopathology. However, the real standout performance is Pesci, who plays Bufalino as quiet, calm, considered, highly intelligent, but cold and sociopathic.
If the film has a single problem, it's the runtime. This has been a recurrent problem in recent Scorsese films, but this is the first time he's strayed from over-long into self-indulgence. The film simply doesn't warrant this length; whole scenes could easily be removed without compromising the story, character beats, or emotion. Another issue is one that has cropped up in all of Scorsese's Mob films – glorification. Obviously, The Irishman is about the toxic masculinity of this world and the lonely endgame (if one even gets to the endgame), but much as was the case with the (frankly stomach-churning) softening of Jordan Belfort in The Wolf of Wall Street (2013), Scorsese runs a very real risk of glamorising what he claims to be condemning.
For me, The Irishman was a very good movie, but not the masterpiece many have felt it to be. But that's just me, and I can certainly recognise and celebrate such ambitious filmmaking, especially coming at a time when more and more it feels like films are being made by committees rather than by artists. Arguably Scorsese's most eschatological film, certainly since Kundun, The Irishman is the story of how one man lost his soul, and, by extension how the world for which he lost it dehumanises and degrades those who participate in its rites. Although Sheeran is brought down by old-age, abandonment, and the merciless nature of human existence, Scorsese refuses to afford him an easy out – he made his choices, and he must now live, and die, with the consequences.
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