At the end of the movie, Frank (Robert De Niro) begged the priest to leave a gap in his door. "I’m used to this," he said. Then the director gave him a panoramic shot through the gap in the door. Cut to the close-up, and finally freeze the frame and return to the previous panoramic shot. This ending can be skipped to connect Frank and Hoffa (Al Pacino) just after they met. They immediately became friends. A gang member and a union leader lived in an apartment. Hoffa used to leave a gap in his bedroom door. , The seam is Frank.
But Hoffa rejects gang members. He is in front of Tony Pro. He called them "You people" in the face of the union's greatest threat. The latter became furious, thinking that Hoffa had no "show respect", and the two immediately fought. Together, and since then, I can't get over this beam. Hoffa didn’t trust the gang members and kept his distance from them. He was like a rock star, wandering between the black and white gangs, but had to join forces with them. After Kennedy came to power, the union that supported Nixon was greatly suppressed. His brother Robert Kennedy suspended as Attorney General, and then began liquidation against Hoffa. The Kennedy administration’s wretched behavior in the Bay of Pigs allowed Castro to take power in Havana, and the gang’s casinos in Cuba were affected. During a series of inexplicable operations (the murderer immediately ambushed and said it was a personal act. One after another), Kennedy gets a headshot in Dallas and Hoffa is released from prison.
Al Pacino completely performed Hoffa's echoing temperament. He stood on stage, and the audience under the stage was as deep as a rock music (or Li Yang Crazy English) scene. Scorsese likes to use slow motion to present this kind of carnival, which is very demanding on group performances, but it can also present a "big" psychedelic effect. Pacino, De Niro and Pesci appeared together, which is a visual feast not to be missed anyway. In this film, Pacino continues his classic performance paradigm in "Scent of a Woman": a passionate character whose voice is always louder than those around him, not in the most famous gangster film "The Godfather" series. , The melancholy and noble Michael Coleone who is incompatible with the surrounding brothers. De Niro is a thug in the film, a loyal life gun, the young and middle-aged Frank should resemble the ruthless character in "Taxi Driver" with his jaw slightly raised , But in this movie he will be more restrained, should not say "You talkin' to me?", he will shoot immediately, and then calmly leave the scene.
Part of Hoffa's misfortune comes from his gullibility in Frank. The latter is like his housekeeper, bodyguard, counselor, and brother, but the latter comes from a gang-obedience is more than brotherhood. The protagonists of the "The Irishman" and "The Godfather" series like to emphasize: I want to protect my family. The irony is that both films protected a void. Michael Coleone lost his wife and daughter, and Frank did the same, but instead of losing their lives, he lost their love. He emphasized to his daughter that I protect you. They asked "From what?" So the family, family, and family here refer to a more abstract circle of the gang members themselves. They gather to eat, meet, and think about who to get rid of, always struggling with things like "Gone too far", "Show no respect", and "Touched my dauhgter". Frank is in this kind of circle, and Hoffa is unfortunate, he has gone too far.
The first half of the film is the old Martin's inherent style, like in "Good Guy", the gang members are hesitant. Dare to stop? Then shoot twice in the back of his head. Russ, the boss played by Pesci, is not angry with himself, and even has the shadow of Marlon Brando in "The Godfather 1." The turning point was Hoffa's death. Since then, the tempo of the film has suddenly changed, and it has become dignified and slow. After shooting his best friend, Frank did not confess himself, but he has been looking for the priest. Before the deadline, he said something that some people would only say when they die, and pray for the cleansing of sins. De Niro’s best performance was the time he called Hoffa’s widow Jo afterwards. He stuttered almost impossible to express. The audience could say that he was nervous, and Jo could think that he was too sad, and the people inside and outside the fourth wall could not exchange. Point of view, only Frank's daughter Peggi seemed vaguely aware of something, but she closed her mouth forever.
All the suspected gang members, including Frank and Russ, were interrogated. They arrogantly used the Fifth Amendment to the Constitution, but they were all sent to jail, but none of them had anything to do with Hoffa's death. After a stroke in prison, Russ lost his teeth and lost his teeth. He still eats meat and drinks blood (wine dipped in bread). When Hoffa is mentioned, he is still gone too far, and then viciously said to Frank: Fuck'em, fuck' em, fuck'em! Cursing the higher-level power that requires him to choose to protect himself from the three forces. De Niro showed that Frank was confused, or that he could see through all his old age. He dragged his injured waist and leg in the trenches, struggling to find a home for himself, and also tried to reconcile with his daughter. He believes that apart from the destiny of life and death, the rest of the intermediate process is more like random. The occurrence of World War II is random, entering the gang is random, encountering Hoffa is random, he is just in an inappropriate situation. At the point in time, it was passively involved.
And the other part of Hoffa's misfortune, as Frank's life philosophy says, is because of fate. Wandering on the fence in black and white, witnessing this falling, that rising, holding power in an environment full of dark arrows, talking and laughing, and finally being able to die. It is almost impossible. Frank said subconsciously "who did this" ??" It is the best summary, in just three words, expressing the endless sinisterness of the world. The film is adapted from the original "I heard you painted the walls". The real Frank Shereen confessed to the author that he killed Jimmy Hoffa. In reality, the police found the house where Frank said the crime was committed, and even found the blood on the wall (of course, Was painted), but unfortunately it does not match Hoffa's DNA. But none of these were shot in the movie. What Scorsese cares about is not revealing the mystery of Hoffa's disappearance, but something else. It is what people think when they are old enough to look back. Something to struggle for a lifetime. Put all your energy into defending things. I wonder what all of this means before that endless dark night arrives.
When Frank was featured in the final feature, he was still a confused old man. In "The Godfather", Michael said: I will become smarter and smarter. When I am old enough to die, I will be the smartest at that time. But he ended up sitting in a chair in confusion, just like Frank, in the face of time, everyone is an equal ordinary person.
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