THE IRISHMAN, A Martin Scorsese Picture with de Niro, Pacino, Pesci, Keitel

I hope Scorsese shows up 15 minutes late and is wearing fucking shorts. https://t.co/wcGj8VdsnU

— PAUL "Part Irishman" (@HuginsPL) December 12, 2019

Lol.

Iger: Marty. We've gotta talk. You're hurtin' me here.
Scorsese: (chomps steak. stares)

walks in with an ice cream sundae

lol

https://i.gifer.com/M5Pe.gif

https://behind-the-irishman.simplecast.com/

It's unnerving how well those long tracking shots line up.

I'd bet that the Mean Streets "Rubber Biscuit" long tracking shot lines up at least partially with those two as well.

to answer a recent question

“Aside from Sinatra, Tony Bennett was the authority in that sense,” the filmmaker recalled in a recent interview. “He had such an extraordinary range and was top of the line. And of course, Dean Martin and his coolness. But it was Jerry Vale who we listened to pretty much all the time.”

Vale has a big role in a crucial scene in Scorsese’s new drama, “The Irishman.” The singer, as embodied by Steven Van Zandt, performs at a gala thrown in honor of Frank Sheeran, the mob hit man at the center of the movie. As Vale sings, gangsters discuss the fate of Jimmy Hoffa, the Teamsters leader who in real life disappeared in 1975.

A member of Mitch Miller’s saccharine yet hugely successful Columbia Records roster, Vale (born Genaro Louis Vitaliano) was one of many Italian-American nightclub singers of the era who were influenced by Bing Crosby. Even stars like Sinatra based their early style on Crosby, who was himself influenced by Louis Armstrong....

“He sounded like as if my uncle sang, or the way my brother could sing,” Scorsese said. “Of course Jerry is 100 times better, but he felt like that person in the room who would break into song. It was like a family member in a way; that voice was so familiar and comforting.”

Scorsese recently turned 77, and it’s the music of his youth that has informed his films, many set to deep cuts and classics. “For me, it’s very, very serious,” he said of his tune choices. “Probably the most enjoyable part of making movies is to select these songs.”

https://www.nytimes.com/2019/12/13/movies/jerry-vale-the-irishman.html

did Vale ever cover Gimme Shelter tho

Will no one give Al Martino his due?!?

Al Martino got his due in the book

loved it. gonna rewatch it like 6 times on my phone in bed over the next few weeks

didn’t feel long at all

https://pbs.twimg.com/media/EMHECkYUUAAkym3?format=jpg&name=medium
https://pbs.twimg.com/media/EMHECkXUcAAVylf?format=jpg&name=900x900
https://pbs.twimg.com/media/EMHECj7WkAAu6uX?format=jpg&name=large

Irishman is superior to goodfellas in that goodfellas cut out all the driving and checking into hotels and just left the exciting parts.

— Colin Quinn (@iamcolinquinn) December 4, 2019

it's hard to think of someone who fits "hack comedian" more than CQ

the best part of Goodfellas involved driving cars.

I'd happily watch the extended driving & hotel check-in cut of The Irishman.

Irishman is superior to goodfellas in that goodfellas cut out all the driving and checking into hotels and just left the exciting parts.
— Colin Quinn (@iamcolinquinn) December 4, 2019
― ... (Eazy), Thursday, December 19, 2019 9:36 PM (yesterday) bookmarkflaglink

unironically otm

Yeah, that was my take as well. The long drives and long hangouts instead of the quick cuts and coke momentum.

Two different portraits, one is the story of a guy who wanted to make loads of money without working a job and indulging in every vice, the other is the story of a guy who regarded his mob work as a job that he showed up for like clockwork and did well and just wanted to have a steady gig.

New interview

We are in a situation now where the theatres are only showing the latest superhero films. You have 12 screens – and 11 are the superhero film. You enjoy superhero films, fine, but you need 11 screens? It’s crazy for a picture like, you know, Lady Bird or The Souvenir. Those films may not necessarily be hugely commercial, but there are films that are modest and genuine and find a large audience. Just because a film is commercial doesn’t mean it can’t be art. What has consumed the theatres is product. A product is to be consumed and thrown away.

the man stays on message!

The Souvenir is different; I was actually on in the beginning with Joanna [Hogg]. She came to see me and we had discussions about it. The Safdie brothers, they’re crazy. I saw them in Telluride at a dinner and it was like they were mugging me. They look like two bandits. When they said they had Adam Sandler, I thought: OK, that’s interesting. They would come on the set of The Irishman and hang out. There’s still an aspect of me that has an affinity with their ferocious manner, so to speak. But over the years, I have become more and more like Joanna’s films or Happy as Lazzaro – it’s about focusing on the essentials.

The Safdie Brothers have reportedly been linked to a remake of "48 Hrs."

I'm down with any director who wants to kick it with Hogg.

In rural areas, sure. And that is a problem for sure. But there are exactly zero theatres in my area that only show the superhero film and little else. Ive gone to indie films while Marvel is playing next door.

im not sure that rural areas have 12 screens at their cinemas but yeah, I'm going to a multiplex to see the new terrence malick film this afternoon because i live in a city. i could also go see parasite, the new todd haynes movie, or a screening of the fleabag theatre piece at the same multiplex this afternoon if i so wished.

Tupelo (pop. ~35,000) has a 10 and an 8. Showing a total of 7 different films today.

I'm assuming the tupelo metro area is over 100k with those kind of numbers

140k, #8 in US Micropolitan Statistical Areas. The 140k surprised me considering the 3 counties it covers.

ah this was mesmerising

great thread

I think late period Scorsese is the best.

I’d definitely be willing to argue that his last 3 are among his best.

Completely missed the first time around that the close up of a gun being fired and someone getting shot in the head near the beginning of his narration (“And then I started painting houses...myself.”) is Frank shooting Hoffa.

wow, that makes two of us - and I've seen it twice!

same here, extremely grateful for that

how could you tell, omar? i remember the splatter shot but not what preceded it.

it’s so quick that I don’t think it’s meant to be caught consciously, but it’s Hoffa getting shot. Just the split second moment of time that his life led up to and the direct and indirect fallout of that moment. That’s how long it took to define his life wholly (at least in this telling).

it was easy to tell cos Sheeran was momentarily distracted by Hoffa's GREAT ASS!!!

apart from all the cracking takes itt (yours were great omar) the other element worth picking up is pesci going as far as he can for frank throughout, but hoffa having frank's (and peggy's, in a mirroring element) love in manner that cant be bought or won, really

its not enough, in the end (how could it be, given all we know about frank and his entire persona as a tool of others?) but it really puts some weight into russ's killer line "i chose us over him"

and it adds weight also to peggy making her own decision after hoffa disappears

in the end, the importance of peggy is imo the importance frank's narrative framing puts on her- she's the judge he never was, and neither frank nor russ could ever sway her to their world, when hoffa could

also thought the hoffa/frank relationship was developed quite enough, tbh- if you couldnt buy the bond between the two guys who were as useful as any associates could be to the bosses, but knew theyd never be more than tools (albeit prized tools), then you dont buy it.

hoffa's final rebellion against this and the ending it brings about is what really sets up the questioning of the final half hour- frank could never have taken such a stand, and living with that contrast and the glare of peggy's judgement is a sparse place for a hard man to see out his slow death.

ty deems

The contrast in Frank and Jimmy’s choices is also the only two choices for guys such as that, who are used as tools. Any questioning of the “company line” will result in death and survival means doing the job that’s asked of you and you and turn can never ask why or whether there’s another way, and if you do you’d better keep it between yourself and the friend who is just loyal enough to not want to see you dead unless of course you keep asking and asking.

Instructive also to note that even for these very measured and cautious top mob bosses (Pesci and Keitel), the polar opposites of DeNiro and Pesci’s roles in Goodfellas, there’s generally only two ways out. Frank’s rare fortune seems to have been he was too in important to bother with killing and keeping in prison forever, and unfortunate enough to live long enough to die alone and apparently forgotten.

Thought of that "two ways out" during the movie, and I think there was only one person in all of those "how they met their death" inserts who died of natural causes. Those inserts also made me curious about the great mob rubout of 1979-80.

I don't agree with every take here, but Boots Riley's worth reading:

Love or hate "The Irishman", we all have to admit one thing:

With the radical direction that the working class in the US is taking right now-

Its curious timing to have a big budget "unions are corrupt" movie come out right now.

— Boots Riley (@BootsRiley) December 27, 2019

<3 Boots

I love Boots too but I think this is kind of a silly take tbh

He is an awesome person and fine actor is Boots, but I don't think Scorsese is in the deep state anti-union dept just because he's not Ken Loach.

lol

I mean it's fairly obvious that wasn't Scorsese's angle with the film, and I don't agree with every one of Boot's takes either, but a large chunk of "unions = bad" sentiment is based on poor received knowledge in this country. either that Unions "make money off of their members and do little to protect them", or "they're all Mafia infested" and the positive benefits get largely shoved to the backburner.

I don't exactly think Scorsese had any actual obligation to have that discussion in his movie, because the film was shown purely through Sheeran's lens, and his side of things has already come into hefty dispute. but it's an interesting concept Boots brings up about how it might color the perception of unions further in less discerning viewers.

idk...I'm just a big The Coup fan.