OSCAR WATCH: The Irishman

A decade ago, the BAMcinématek curated a series called "The Late Film", a collection of late career films from established auteurs. As described in the New York Times, the term refers to work that is "both familiar and strange, characteristic of the artist and yet markedly at odds with everything that preceded it." As I watched the latest from American master Martin Scorsese, the descriptor could not feel more apt. Among Scorsese's esteemed canon of gangster films, "The Irishman" expresses familiar themes in profound and revelatory ways.

In my review from over 5 years ago, I marvelled at Scorsese's direction of "The Wolf of Wall Street", impressed by its audacity and edgy, kinetic style. It felt like the work of a younger, maverick filmmaker, proving that he was still a vital voice in the contemporary film scene. Four films later, I am stunned once again by "The Irishman", which sees Scorsese reuniting with many of his most famous collaborators. This epic surrounds Robert DeNiro's titular character Frank Sheeran, as he reflects on a life of mob-related crime. From his younger years as a truck driver, to his subsequent rise up the ranks of the Buffalino crime family, his story is one of violence, greed and power. But in his dying days, the events of his life weigh heavily on him.

With this premise and the recognizable director and cast – including Al Pacino and Joe Pesci in supporting roles – you'd be forgiven for thinking this is just another Scorsese gangster flick. But "The Irishman" deepens the genre through a directorial approach that is more subdued and graceful. It feels in direct conversation with the aforementioned "Wolf of Wall Street", as well as the other iconic gangster narratives that came before for it. Indeed, while "Wolf of Wall Street" was accused of glorifying the debauchery of its immoral men, "The Irishman" is never gratuitous, filled instead with an undercurrent of regret. Though violence are central its themes, the film is more concerned with the impact rather than the act.

One particular scene stands out, where Al Pacino's Jimmy Hoffa, desperate to reclaim leadership of the mob-controlled union remarks to Sheeran that "They do something to me, I do something to them. That's all I know. Nothing else." Epitomizing the endless cycles of violence and revenge (also emphasized through frequent pop-up subtitles about various characters' future demises) it achieves a rare emotion for audiences in a gangster film – pity. And as the decades-long narrative of "The Irishman" plays out, this sentiment only deepens as the bodies pile up and families and friendships are irreparably broken.

The result is an uncommonly calm and contemplative gangster film from Scorsese, with the screenplay's themes amplified by impeccable acting - particularly the soulfully captivating DeNiro and the chillingly unflappable Pesci - and Scorsese's usual attention to detail. Oscar nominations are definitely on the table in the categories of Best Director, Best Actor, Best Supporting Actor, Best Adapted Screenplay, Best Editing, Best Makeup & Hairstyling, Best Production Design and Best Picture. Admittedly, it's still not my favorite of the year, but I wouldn't begrudge any of these wins. It's truly exciting to see Scorsese continue to be so inspired and invigorated (this year he also directed the impressive documentary "Rolling Thunder Revue: A Bob Dylan Story"). Unlike Frank Sheeran's life story, this film may be a late work, but it's far from a swansong.

Tweet

TIFF: A Beautiful Day in the Neighborhood

“It’s not really about Mister Rogers.” So remarks a character in Marielle Heller’s new film “A Beautiful Day in the Neighborhood,” in response to the profile of the iconic children’s TV host that forms the basis of the narrative. For better or worse, that statement is true of the film itself, which eschews traditional biopic expectations for an endearing tribute to Mister Rogers’ legacy of kindness and empathy.

Read more at The Awards Circuit

Tweet

OSCAR WATCH: Once Upon a Time in Hollywood

If there's one thing that Hollywood loves is movies about movies. And if there's one filmmaker who loves making those movies, it's Quentin Tarantino. Famously known as a film nerd, Tarantino's filmography is filled with homages to film history. Whether it's the blaxploitation era in "Jackie Brown" or the spaghetti westerns in "Django Unchained", his love of cinema is always on display. You could therefore argue that his latest Best Picture contender - "Once Upon a Time in Hollywood - represents a culmination of his filmography to date. Chock full with references to classic cinema, Tarantino shows off his film literacy with a comedy-drama that educates as much as it entertains.

Indeed, "Once Upon a Time in Hollywood" is practically a crash course in classic cinema. Set during the late 1960s, it reflects the turning point when Classic Hollywood was making way for the New Hollywood movement which would emerge in the next decade. Incorporating real life figures of the time with fictional characters, the film thus follows a fading star of 1950s TV Westerns - Rick Dalton, played by Leonardo DiCaprio - who struggles to find his place in the new world order. With his trusted stunt double and closest friend Cliff Booth (Brad Pitt) by his side, he attempts a personal reinvention as a movie star. But it will prove to be his greatest challenge yet, as a growing, youthful counterculture threatens to leave him behind.

That tension between old and new hollywood is at the core of "Once Upon a Time in Hollywood", as it serves as a time capsule for a turning point in the film industry. In this regard, Tarantino instills an evocative atmosphere of 1960s Los Angeles, thanks to the music, clothing, sets, and the hair. Oscar nods for the film's aesthetic would definitely be well deserved, particularly for Best Production Design. And Quentin Tarantino will surely garner the respect of his peers in his Best Director bid.

Tarantino's attention to detail brings a tangible authenticity to the settings, augmented by playful nods to films and stars of the era, ranging from "The Great Escape" and "Rosemary's Baby" to "The Wrecking Crew". Indeed, the latter notably draws attention to the subplot involving rising star (played with eager gusto by Margot Robbie). But while initial promos highlighted the ill-fated Tate - and the murderous Manson Family plays a major role in the film - she remains more of a concept than a fully drawn character.

Ultimately, Tate's storyline becomes a casualty of a screenplay that struggles to cohere. As such, the whole is less than the sum of its parts. Thankfully, its best parts truly resonate enough (and will surely push it forward in the Best Original Screenplay race). Namely, the friendship between Dalton and Booth and the charismatic performances from DiCaprio and Pitt. Indeed, Brad Pitt is cool personified in a performance that will likely net him a Best Supporting Actor nomination. Meanwhile, DiCaprio will also garner himself yet another Best Actor nod for his outstanding work. Using every ounce of his physicality and expressive eyes, he is often self-deprecating and vulnerable as a man who must prove to himself and the world that he is a true movie star. Ironically, DiCaprio is effortlessly charismatic in the role, once again proving his movie star bona fides. And perhaps that's the essence of the film and Hollywood itself. No matter the era, it's a town built on make believe and only the most convincing imposters survive.

Tweet