The Irishman

The Irishman ★★★★★

175/200

A Scorsese movie is always the most enormous and worthy exercise of whatever year it debuts. Cut/edited from the piece: 

Film critic André Bazin begins his essay The Ontology of the Photographic Image thusly: “If the plastic arts were put under psychoanalysis, the practice of embalming the dead might turn out to be a fundamental factor in their creation. The process might reveal that at the origin of painting & sculpture there lies a Mummy complex. The religion of ancient Egypt, aimed against death, saw survival as depending on the continued existence of the corporeal body.“ Cinema is the art with sharpest weapons drawn against death. Bazin himself confirmed it by writing about film, which has the potential to change fundamentally every time someone tinkers with a camera or directs a new movie. Advances in technology, changes in the temperament of audience & artist alike, the integration of every position, foisting the primacy from the men who got the earliest start with cameras onto other groups; everything conspires to keep anyone from keeping a coherent sense of the shape the art form takes. 

lareviewofbooks.org/article/martin-scorseses-late-style

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