is like a fan of my generation who has been in a movie forum, and I will remember the scene of chatting with people on the forum more than ten years ago.
At that time, no matter which movie forum, there will be such a "menstrual post"-Robert De Niro or Al Pacino, whose acting skills are better (or, who do you like better, it means almost the same anyway) .
Such "menstrual posts" are often accompanied by a poll, and the result is always the same.
posts are always full of emotional gunpowder. How many people support De Niro's acting skills, and how many people support Pacino's eyes and breath can penetrate the screen. In short, the two who emerged at the same time since the early 1970s are basically the names that most domestic movie fans think of when they talk about acting.
commonly referred to as "movie king" or "play bone" is obviously difficult to fully express the fans' respect for them. In the latter's heart, they are the two true gods most worthy of worship in the pantheon of performances. Fans are constantly arguing about De Niro and Pacino’s acting skills. It’s a bit like fans will always be unable to agree on who Pele and Maradona are the real kings. Pele and Maradona will always It is impossible to compete in the same game, but fortunately, De Niro and Pacino can always be in the same frame on the same screen.
But unfortunately, these two true gods have been in the same frame only three times before, and two of them left one kind of regret.
In "The Godfather 2", two people live in a parallel time and space that never intersects. More than ten years ago, "Justice Killing" was filmed by the infamous director Joan Afnet so hard to be mediocre, so only one remained. "Stealing the Wire" by Michael Mann.
, a duo of police and robbers of average quality, has become a contemporary classic thanks to the addition of De Niro and Pacino.
People will reminisce about Pacino's stunned eyes after shooting De Niro in the film. That is his only opponent in his life, and at the same time his only confidant. That kind of sympathy that is hard to describe is enough to match. The imagination of these two actors. Said so much, because before talking about "The Irishman", you must wake up all the memories of De Niro and Pacino before you can really enter and enjoy this movie.
You should even recall the excitement of Martin Scorsese when he said that he was going to find De Niro to collaborate on another gangster movie, and recall that the movie once called "I heard you did the house" will also invite The ecstasy when Pacino joined, and the inner peace and stability after turning on the phone after several setbacks.
You should remember how long this movie has been waiting for, and then you can tell yourself contentedly today that all the waiting is worth it. If you are a fan of De Niro and Pacino's classic works, you can easily find the shadow of the classic gangster movies starring them in "The Irishman". The whole "The Irishman" is like "The Good Guy", with the help of the memories of Frank Sheeran played by De Niro.
Like Henry played by Lei Liotta in "The Good Guy", Frank is also a street gangster who accidentally joined the gang. This Irishman who has been trying his life to climb up the underworld family, eventually became the only gangster. Some survivors. Here, you will see the respect for the Godfather of the Mafia that is repeatedly emphasized in The Godfather, and the terrible end of losing this respect.
You will also see the protection of family members reiterated by "The Godfather", and how the protection under this extreme concept defeats oneself. You'll find that Joe Paisy, who wants to be in the gangster family in "Good Fellas," this time is really the high-level guy with the ring from the beginning.
You will also find that Pacino, who is still hot, is no longer the thoughtful Mike Corleone, but the Tony Montana who raised his machine gun and wanted to yell at the world.
Moreover, he would laugh at "Tony" in the film, "Those Sicilians in the Mafia seem to be unable to think of another name." "The Irishman" essentially tells the long process of a gang from its heyday to its decline. The look and feel of this movie is as long as the total number of gangster movies that have been watched for a lifetime (sad and not derogatory). In the process, Frank moved from a mediocre truck companyChance, step by step from a killer to a powerful gangster, and finally a lonely family abandoned by his family.
His friendship with Jimmy Hoffa, played by Pacino, is a testimony to the heyday of the entire gang.
Frank and Jimmy’s friendship means black and white take-all and unscrupulous, and the sad ending-Frank finally had to kill Jimmy himself, and the most despicable way of shooting in the back-means Every underworld person has a pawn-like fate.
No one can defy the above orders, no one knows when and how they will die. Scorsese used very cold shots to show those shots and explosions time and time again, without bedding, without close-ups, everything happened so naturally.
At the same time, he did not forget the extremely ironic subtitles to inform us of the fate of those underworld people who appeared on the scene like a revolving lantern. Most of them died in gang assassinations. Few people survived 1980. In the end, all Frank's family had left him, all his enemies and friends died, only he survived. The most ironic scene of
is that when the police came to question him about Jimmy years ago, he asked the police to find his lawyer. The policeman's answer was, "He is dead." Frank asked subconsciously, "Who did it?" The answer was "cancer."
When you look at Frank, who can only move with crutches and wheelchairs, you will feel that he is not being punished by law, or being tried by morals, or being questioned by conscience, but just enduring the torture of time.
He could not confess to the priest, nor could he confess to the police, because his code of conduct throughout his life was to keep a secret, but when no one cared about the secret in his stomach, his life became a curse.
ages and becomes the most impressive part of the whole movie.
This kind of aging is firstly due to the three protagonists themselves, De Niro, Pacino and Joe Pessi are 76, 79 and 76 years old respectively. For most of the movie, they all need special effects technology to make I look younger.
But even so, the inconceivable sense of aging is still engraved on them. Especially if you are familiar with the looks of De Niro and Pacino when they were young, you will be even more embarrassed at this aging. When the story progresses to the point where the characters they play are old enough, the uncovered aging is even more unbearable.
De Niro slumped in the wheelchair with a big belly, his hair scattered, and the last scene of Joe Pessi was even more exaggerated, like a boneless human skin that has completely lost its blood and elasticity. In fact, Scorsese behind the camera has also aged with them.
Although he can still produce such a grand epic, and even connect the grievances between the Mafia and the head of government so directly from a historical perspective, the final investment in his movie is a stream like Netflix. The media giant, the way movies are released, is no longer the big screen he loves. Just like the audience who watched this movie on TV or computer, they are no longer the fans who would fight for De Niro and Pacino. Now the fans are only interested in Marvel and Who is more awesome in DC. This is what Scorsese said today when many movies are not cinema, time always runs over everyone so peacefully.
If you want to find good times that have long passed away, you can probably only hide in a movie like "The Irishman".
