Movie review: The Irishman (2019)

The latest Scorsese film hit Netflix. I waited. And then waited some more. Then I, somewhat reluctantly, sat down to watch the three plus hour movie.

It’s not that I thought it would be bad. I thought it would be excellent. Scorsese films always are. And the actors! How wonderful to see Pacino, De Niro, and Pesci on the screen again in a serious drama.

It’s just that it was just another gangster/mobster film. (These aren’t the only types of films that Scorsese does, but dang, it sure feels like it sometimes.)

The movie is based on the book I Heard You Paint Houses and focuses on Frank Sheeren, a hitman for the Bufalino family. An Irishman, Frank gets in close with Russell in an accidental meeting over a broken truck. Russell is high up in the Pennsylvania mob.

Frank starts out driving trucks for meat delivery but soon is trusted with more. He evolves quickly into quite the reliable thug. He is the lone Irishman in a world of Italians, but he and Russell remain close. Even in prison. Even when Russell is wheeled away for one last visit to the church before going to the hospital and then the grave.

But this isn’t just a movie about mobsters and crime families. The Teamsters and Jimmy Hoffa are front and center, mixed up with the mob. Hoffa personally signs off on any loans from the union pension fund to mob projects.

Russell introduces Frank to Hoffa and the two hit it off. Best of friends. Frank is constantly trying to rein in Jimmy or advise him in ways that will prolong his life with the mob. But Hoffa is portrayed as quite the hot-head. He trusts Frank with his life. According to the narrative pushed by The Irishman, that was his mistake.

Hoffa disappeared one night in 1975 and was never heard from again. In real life, the FBI set their sights on Chuckie O’Brien, claiming that he drove Hoffa to his death. A recent book by Chuckie O’Brien’s step-son disputes this narrative (and claims that even the FBI has rejected their theory about Chuckie being behind Hoffa’s murder.)

The Irishman never explains why Chuckie was driving the car but also never implies that he was knowingly involved in Hoffa’s disappearance. Frank was merely following orders from Russell but was clearly bothered by killing his close friend. The film shows that one of Frank’s daughters, who was always aloof with the mobsters, formed a close bond with Hoffa. When Hoffa disappeared, she rightly suspected her father and broke off all communication with him for the rest of his life.

At various times in the story, the movie displays textual updates on mobsters, indicating what happened to them later. Most died. Some were imprisoned. Frank Sheeran and Russell Bufalino were two of the few who didn’t die a gruesome death. Instead, Russell died a natural death in prison and the implication is that Frank will die soon in his post-prison nursing home.

The point of the movie (and the book on which it is based)? Crime isn’t a lifestyle to emulate? Crime isn’t glamorous? Hoffa was killed by Frank? I am not clear. It began with Frank sitting in a wheelchair in a nursing home and ended with a priest leaving his side at the nursing home. No remorse. No regret. Just a life of violence and loyalty to Russell over Jimmy. A life that is coming to a close.

Movie review: Trumbo (2015)

Trumbo who? I confess I had no idea about the man in the movie’s title. I was interested in this movie because of the actors: Bryan Cranston, Diane Lane, Helen Mirren, John Goodman. And the subject matter: The Communist witch hunt of the 1950s where people were blacklisted and their careers ruined.

I wasn’t disappointed in this movie. The acting is superb. And the storyline…well, in good Hollywood fashion, the good guys win in the end.

Dalton Trumbo was a famous movie screenwriter behind several successful movies. If the movie is to be believed, he was the most famous and highly paid screenwriter of the time. He also joined the Communist Party in 1943 and was an agitator for workers’ rights. But he wasn’t alone. He was joined by other screenwriters, producers, and directors with similar sentiments.

In 1947, they were called before the House Un-American Activities Committee to answer questions about their Communist affiliations. They refused to answer. They were imprisoned for contempt of Congress. When they emerged at the end of their sentences, the so-called Hollywood Ten found themselves blacklisted. None were allowed to work in Hollywood.

The movie depicts how Trumbo got around this ban and ultimately helped end the blacklist some ten years or so after it started. In the intervening years, the blacklist took a toll on his family. To make ends meet, Trumbo approached a producer of B-rated movies about writing scripts for him without getting credit for the movie scripts. That way, he gets paid for work he does but skirts the blacklist. The producer was game.

To make enough money to survive at the low pay he was receiving, Trumbo had to produce an ungodly number of scripts. He became a non-stop screenwriter. Of course, this pace wasn’t sustainable. He took two tactics to solve the dilemma. He enlisted other blacklisted writers to write scripts and he commandeered his family to help with answering phone calls and delivering scripts.

The involvement of his family was anything but normal. Rather than living their lives as teenagers, his children were forced into the family business for their financial survival. The stress on the family was enormous.

The movie also touches on the stress felt by other writers, directors, and producers who were blacklisted. Some named names in front of the House committee for their own survival. Others tried to skirt the issue for as long as they could.

Trumbo wrote scripts, such as Roman Holiday, that other, non-blacklisted writers added their names to. Years later it came out that Trumbo actually wrote Roman Holiday and was eventually given the Oscar that it won in 1953.

The turning point in the movie was when Kirk Douglas shows up and asks Trumbo to rewrite a script for a movie he was acting in. That movie? Spartacus. Spartacus would go on to win awards. At the same time (according to the movie), the director Otto Preminger approached Trumbo to write the script for Exodus, which also went on to win awards.

Kirk Douglas and Otto Preminger gave Trumbo screen credit for writing scripts. (Note: The breaking of the blacklist is a bit disputed. Others used blacklisted artists for movie before Spartacus and Douglas’s role in ending writers being blacklisted has been disputed.)

The movie also errs with a tidy version of history by implying that once the blacklist was broken everything went back to how it previously was. Writers went back to writing. Producers to producing. But things were not so tidy. In reality, some could never work again or work under their real names.

And to my surprise, the House Un-American Activities Committee did not disbanded until 1976. 1976. That seems incredibly late to me. How easy it is to forget the anti-Communist fear that gripped the US for much of the 20th century.

Movie review: A Star is Born (2018)

It’s kind of embarrassing to admit that I had never seen any rendition of A Star is Born. I finally remedied that with the fourth version, a directorial debut for Bradley Cooper.

I knew it was going to end badly but darn if I still didn’t want it to. The story follows the life of one star and the rise of an amateur singer. Their paths cross and their lives are never the same. Jackson encourages Ally and draws her out on stage during his concerts. His fans go wild for her and her singing. In time she lands her own manager and her career takes off.

His career on the other hand is starting to wind down. He is still talented. Still beloved by fans. But his hearing loss is taking a toll and the ever-present drinking and drugs nearly destroys him and almost derails Ally’s career.

The relationship experiences some bumps but on the whole is a loving and supportive partnership. After embarrassing her and himself on stage at the Grammy’s during Ally’s acceptance speech for best new artist, he finally checks himself into rehab. It finally seems like he is getting his life back on track.

But all it takes are a few words to destroy any hope for him. He encounters Ally’s manager who doesn’t mince words. He cuts Jackson down and flat out accuses him of holding Ally back and hurting her career.

Ally, of course, doesn’t present this view of the world to Jackson. Always supportive, she wants him to join her on stage at her concert. Instead, he takes his life, leaving her grief-stricken. The movie ends with her singing a last song he wrote her.

The movie is well-made with outstanding actors. The singing is delightful. Cooper underwent vocal training to lower his voice. The only slight hiccup is near the end when Ally is singing the last song he wrote. The movie suddenly cuts from her singing on stage to them singing the song at home. Clearly meant as a flashback showing what Ally was thinking about, I found the transition too jarring.

Unfortunately, I cannot compare Cooper’s and Lady Gaga’s version of A Star is Born  to earlier ones. But this one has a haunting quality to it. Talented couple in love destroyed by alcohol and drug addiction. Not a unique storyline but touching nonetheless.

Movie review: Walking Out (2017)

Walking Out seemed like worlds away for me. I have no experience with hunting or the sparseness of the Montana wilderness or father-son relationships. In many respects, I was an outsider looking in, trying to match sense of the world that I found myself observing.

David, a fourteen-year-old boy, had flown in to visit his father who lives in a remote area in Montana. He didn’t seem nearly as out-of-place in this world as I but it definitely wasn’t the world that he typically inhabits. Every year he flies in from Texas to spend time with his dad. He seems comfortable enough with guns and hunting, though it doesn’t really seem to be his cup of tea. He tries to make his father happy as his father tries to impart hunting and wilderness words of wisdom to him.

As often seems to be the case in movies, one decision alters their lives. Parking the jeep at a junction, David speaks up about not wanting to embark on the hunting trip they are about to do. They need to hike several miles to get to a small hut that has just enough room to lie down and sleep in. Then they will hike further up the mountains to hunt a moose that Cal, the father, has been tracking for two weeks. He has saved this moose for David—his kill to make. Cal mentions that he too hunted with his father at age fourteen to bag his first moose. Now it is David’s turn.

As the movie unfolds, David draws out the story of his father’s first moose kill. It is not what we were led to believe. Hunting with his father, which we see in flashbacks, was not the idyllic experience it was first presented as. There are certain rules to hunting and respecting nature that young Cal violated. This first moose kill was the last time he hunted with his father. And the hunt ended with no bagged moose.

Spoiler alert: David doesn’t bag his own moose on this trip. Chances are that he never will. And like his own father, this was the last hunt that father and son shared.

The movie takes a dramatic turn. The story morphs from a hunting outing where father tries to impart knowledge about the outdoors to his son into an outing of survival. David has to put into practice everything his father has tried to teach him. He succeeds in some and not others.

Walking Out is really about father-son relationships, the difficulties in communication and the ways that love is expressed between fathers and sons. The movie shows lots of harsh moments and judgments but also some moments of tenderness.

I was surprised that the movie didn’t end neat and tidy—I am too accustomed to movies tying up loose ends. But Walking Out left me with a feeling of realism. Lives are not neat and tidy and things do not always end the way one hopes.

Movie review: Our Little Sister (2016)

What struck me most about Our Little Sister was how much food was involved. As the movie wound through the lives of four sisters, scene after scene depicted them eating and the centrality of food in their lives.

Our Little Sister is not a movie about food—though perhaps it could have been. The movie follows three sisters who live together and experience the death of their long-estranged father At the funeral, they meet their previously unknown half-sister.

The movie is dominated by women. It is a storyline about women and how women are important in each other’s lives. The three sisters bring home their younger sibling to live with them. Respect is shown at the family shrine, where tales about Grandma are shared. Great Auntie appears and even the long-absent mother who abandoned the sisters years earlier reappears in their lives. A woman business owner of a local restaurant frequented by the sisters during their lives is central too—to their lives and the story.

Men fill supporting roles—from the deadbeat father who is also absent in the movie to the erstwhile boyfriends. Men are of little consequence, perhaps reflecting the relationship dynamics that have been playing out in Japanese society for the last several decades.

The sisters dance around painful truths. In essence, they were abandoned by both parents and learned to live together and rely on each other in a house that their mother owned. As adults, they are strong, independent women though one seems to renounce her boyfriend-seeking obsession later in the movie. Family relationships make things difficult and force negotiations about who can discuss who to whom.

The teenage sibling that the three sisters adopt into their home is the product of their father and the woman he abandoned them and their mother for. At the funeral, the young sibling was living with her step-mother, another woman that their father married after things ended between their father and the woman he left his first wife for. (It’s never explicitly stated that the second wife died but assumed since she never appears in the movie or is discussed.)

The younger sibling knew their father in ways that the older sisters didn’t. She had discussions with him and fishing expeditions. The older sisters express an interest in hearing about their father and learning what he was like.

Her presence though is a painful reminder to everyone about how the father failed them, or as the sisters describe it, was “useless”. He was a kind man, to woman after woman after woman, leaving behind broken relationships. The younger sibling reminds everyone, just by her existence, of the painful reality that he left them—the older siblings and the first wife and mother of the older siblings.

Throughout the movie, the sins of the father are manifest. In a scene near the end, the eldest sibling and the youngest are walking to a secluded spot overlooking a bay. The eldest would go here with the father and then later after he left she would go by herself. She screams into the wind about him.

The youngest follows suit but with a twist. Into the wind she screams about her mother, the woman that the father left his wife and daughters for. The pain that the other woman caused, even carried by her daughter, is finally acknowledged. Not only do the siblings need to talk about the father, but they need to talk about the other woman, Suzu’s mother. That fact is finally acknowledged and invited into discussions.

Family relationships can be messy. Our Little Sister shows that, as well as the bonds among women. Men are almost an afterthought but definitely the source of lots of pain.