The Irishman
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The Irishman

The Irishman silence (2016), Martin Scorsese’s latest film seems to me like an incomplete masterpiece. I can admire the The Irishman complex quality of Scorsese’s filmic language, his cultured references, and the romantic construction of an internal world unfolding into a lush landscape. But I can’t exactly commune with the end of the tape; an ending that seems to indicate that Scorsese, far from the complex gaze he posed on human morality and the daily tragedy of living, on the horrors of male violence and contemporary hopelessness, was settling for a religious solution. Silence seems to promise that despite all the pain, all the frights, all the tribulations, we can always hold on to faith. I thought that, like Dylan, we had lost another great in the honeys of religion.

As the end of The Irishman (I Heard You Paint Houses) approached, I was sure this movie was going to confirm my suspicions about Scorsese’s new religious trend. Finally, the director raised in the bowels of an Italian New York, macho, violent and Catholic, succumbed, after so much criticism of his surroundings, to nostalgia for family religion in old age. I was very wrong. This is not a film about the hope that religion gives, it is not a film that portrays the experience of a surrender to a higher power or the company of religion in the life that ends … it is, in a much more complex way, an amalgam Comprehensive religious thought and reflection on old age in a recently created mythical tragedy. With The Irishman, Scorsese achieves one of his most personal, most sensitive, most memorable films; a work that completes a tetralogy of crime in a strict and nostalgic tone; a story about the power of memory and the fatality of silence, about the end of life and the fictions that we tell ourselves to support it.

Duration: 209 min

Release:

IMDb: 7.9