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Non-Review Review: The Irishman

“Time goes by so fast,” Frank Sheeran reflects to a young nurse late in the movie. He adds, “You’ll understand when you get there.”

Of course, the nurse doesn’t quite understand the passage of time in the way that Frank does. “You’re young,” he explains. “You’ve got your whole life ahead of you.” In contrast, Frank Sheeran’s entire life seems to be left behind him. When The Irishman introduces the audience to its central character, he is already well past his prime. He is resting in a retirement community. He begins to narrate his story through internal monologue, but then decides to directly address the camera. After all, there is nobody left who might be exposed or shamed by his reminiscences. They are all long gone.

The end is DeNiro.

The audience really feels the passage of time in The Irishman. It is revealing that Frank’s most prized possession appears to be his watch. The watch itself changes as Frank’s situation does, becoming more ostentatious has his stock rises, but there is always a watch on the bedside table and it is always fixed first thing every morning. Even more than the ring that signifies his acceptance into the underground criminal fraternity, Frank holds tight to that watch. It measures the seconds that make up the minutes, the minutes that make up the hours, the hours that make up a life.

It is a critical cliché to praise a long film by saying that it doesn’t feel long, that the time spent watching a story unfold “flies by.” In some cases, that is true. Of this year’s hyper-extended offerings, both Avengers: Endgame and Once Upon a Time… In Hollywood move breezily enough that they never feel their length. In contrast, The Irishman does feel every minute of its three-and-a-half hour runtime. That’s part of the movie’s power. By the time that the audience has reached that conversation between Frank and his nurse, they have some small understanding of what he is saying. They have lived that life with him.

Get Hoffa his case.

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