As I’ve been complaining that Netflix don’t give enough exposure in cinemas to their films I felt obliged to go and see The Irishman. ‘Obliged’ doesn’t suggest enthusiasm, the lack of which is partly explained by the 209 minute commitment but I was also wary of the film being compared to Goodfellas (US, 1990), which I didn’t like. My fears were well founded, though I do find myself way outside the critical consensus on this one. The first half an hour was so bad I considered leaving but it improved in the middle when political interference by the mafia became the film’s subject. I forced myself to finish the film when the social context disappeared toward the end.
I’m exaggerating, it’s not a terrible film: how could it be with a great cast at the top of their form? It’s particularly good to see Al Pacino, whose appearances have been infrequent recently, playing union boss Jimmy Hoffa. He dials down his sometimes over-the-top schtick to give nuance to a larger-than-life character. When Heat (US, 1995) was released it was hyped as the first time Pacino and De Niro shared a scene. They do so again, De Niro plays Frank Sheeran (the Irishman) who became Hoffa’s minder; this time they are in pyjamas. It’s a knowing touch that scriptwriter Steve Zaillian and director Scorsese (they also collaborated on the vastly superior Gangs of New York, US-Italy, 2003) bring to the film which gives it a valedictory feel. I wonder whether some of the lauding of the film is because it harks back to the (so-called) glory days of Hollywood where brilliantly produced and thought-provoking movies were made. It’s unlikely that the major studios would produce anything like this these days: $150m for a non-franchise film?! The opening shot reminded me of the dolly at the start of Mean Streets (US, 1973) with a pop song high in the mix; this was the director’s breakthrough film. It’s bravura filmmaking but also, because of its association with a movie from 50 years ago, old-fashioned. Scorsese’s association with the gangster film (Casino, US-France, 1995, was also better than this), as well as the lead actors, Pesci came out of retirement to appear, all give it an end of the road feel.
I didn’t like Goodfellas because I felt the film actually thought the psychopaths it portrayed were good fellas. That tendency is not so pronounced in The Irishman but it is still an issue when we are clearly meant to feel sorry for Sheeran at the film’s end. If I cannot care about a character then I have difficulty engaging in a film; by care, I don’t necessarily mean ‘like’. Why are we supposed to sympathise with a heartless relic?
The $150m has been well spent. In an interview in the current issue of Sight & Sound, costume designer Sandy Powell states that De Niro had 102 costumes, there are 160 speaking parts and 7000 extras. The film does look great. It’s a tribute to Scorsese and his crew that these vast forces, in a narrative that crosses five decades, cohere across the three and a half hours duration. However, it is Scorsese’s direction that disappointed me most. It was too workaday (shot-reverse/shot prevailed) and one high angle shot used to establish location (on the way to Hoffa’s final meeting) is used three times within a few minutes that, for me, simply emphasised how long everything was taking. There was none of the ‘operatic’ grandeur of Gangs of New York; though Bradshaw uses the term in his review.
The marginalisation of women is also an issue for me, but I’m not blaming the film for that as it is a result of the world being portrayed. That the marvellous Anna Paquin gets only six words of dialogue is worth remarking upon, especially as she is used as the film’s moral compass. However, that is the point, because women did not get a say in this world, violence ensued. It would be good if Scorsese, in his twilight years, revisited Alice Doesn’t Live Here Any More (US. 1974).
Three films from the Russian director Alexei Balabanov were screened at BIFF last year and they proved very popular with festival regulars. Sadly the director died in May 2013 aged only 54 – as did the star of Brother, Sergey Bodrov, in an accident during a film shoot in 2002. Screening Brother was therefore both a follow-up and a tribute.
Brother was both a big box office hit and a critical success (but also creating controversy with claims that it was fascistic and ‘not Russian’ in its appeal to Western audiences). The film exhibition business was still recovering from almost complete obliteration in Russia in the 1990s so much of that ‘box office’ must have come through video copies, legal or otherwise. It isn’t difficult to imagine younger audiences quickly latching on to Sergey Bodrov as an attractive young man dealing out a form of ‘justice’ on the streets of Leningrad/Saint Petersburg.
Bodrov plays a young man just demobbed by the Russian Army who arrives in his home town, quickly gets into trouble and is packed off to Saint Petersburg to find his older brother who his mother believes is in a respectable job. He isn’t and soon he has recruited his younger brother to help him in a battle with local gangsters. What follows is mostly conventional for the gangster film across all major film industries. What distinguishes this film is the setting – the city still recognisable as the Leningrad of Eisenstein except in colour – and the young hero Danila who makes things happen as quickly as the young Corleone in Godfather 2. Danila repeatedly tells people that he was only a “clerk at HQ” but he is adept at handling weapons, modifying them and using them imaginatively. He kills without compunction but with efficiency, but he has a sense of honour and he keeps his word. He enjoys Russian rock music and he has an eye for women including a tram driver. (The ancient open tram is the star attraction in the mise en scène of the city.) It isn’t difficult to see why Bodrev became popular so quickly.
The charges against the film are not easy to explore. Danila befriends an old man in the vegetable market who turns out to be German but this may be a code for Jewish. Either way, Danila needs a supportive group and he works with them whilst making noises about other groups that suggest ‘learned’ prejudices. There is a reference to gay characters and I don’t feel able to properly discuss the range of representations – Russia is generally presented as a hard-drinking society with social behaviour to match (although Danila also visits a post-hippy party as well). Based on the reputation for extreme violence in the films shown last year (which I didn’t see) Brother seems to keep within the boundaries of mainstream entertainment cinema and on that level I enjoyed it very much.
Dismissed by David Bordwell because of the “formulaic” direction by Derek Yee, this film from Jackie Chan’s production company is indeed flawed in many ways – but it’s also pretty interesting for several reasons. The narrative begins in North East China in the 1990s. Villagers are discussing the possibility of emigration to Japan, especially as one of the elderly villagers can prove that she is a ‘Japanese orphan’ – one of the children born during the wartime occupation of China. A group of villagers beg her to claim them as her children so that they can legally enter Japan. Xie Xie (Xu Jinglei) has an aunt in Tokyo and she leaves China. When he has heard nothing from her for a considerable time, her ex-boyfriend ‘Steelhead’ (Jackie Chan as a tractor mechanic) decides to follow her. The ship carrying him and other ‘illegals’ founders on the Japanese coast but Steelhead eventually finds his way to Tokyo and refuge with a Chinese community in Shinjuku which includes Jie, his ‘brother’ from the village. For the remainder of the narrative Steelhead moves steadily from an illegal being hunted by the police to a petty crook and then on to a gang-leader taking on the yakuza. He also develops a second relationship with a Japanese-Chinese woman, Lily, since Xie Xie is by now beyond his reach.
The concept behind the film sees Jackie Chan attempting a ‘serious’ dramatic role. Although there are action sequences, Chan does not perform outrageous stunts or display his kung-fu skills. Instead he plays a hard-working man who is pushed first into crime because of his illegal status and then into leadership of his Chinese community in self defence. This Hong Kong production tells a mainland story that is also about a social issue in Japan. It obviously draws on yakuza genre narratives, but offsets this quite heavily with a ‘moral discourse’ that perhaps derives from Chinese social films (at various times Steelhead acts in an almost altruistic fashion – even though it puts him in danger). As well as the Japanese setting, the plot also involves a Taiwanese gang which Steelhead and his group must replace on the streets of Shinjuku. Language is an issue in the film, although of course the English subtitles draw attention away from the mix of Japanese, Mandarin, Cantonese and other Chinese dialects.
I found the film to be confusing at times, partly I suspect because it has been re-edited. It is also very violent. Despite a sometimes poor critical response, the film seems to have pleased many of Chan’s large numbers of fans. In passing I learned something I’ve not thought about before – the film was not released in mainland China because there are no age-related certificates there. Chan is reported to have been concerned that this 18 certificate film in the UK would be unsuitable in an unregulated cinema market where children might see it.
I’m not really in a position to judge Jackie Chan’s performance in this role as I haven’t seen enough of the earlier work which made him such a big star. For what it’s worth, I thought he did a good job – but I must confess that I did think about those films where older stars like John Wayne or Clint Eastwood played action roles that seemed unlikely. Chan was only in his early 50s in this film and there was nothing wrong with his action sequences but he seemed a good 10-15 years too old for the specific role of the ex-boyfriend/fiancé.