The Unz Review: An Alternative Media Selection
A Collection of Interesting, Important, and Controversial Perspectives Largely Excluded from the American Mainstream Media
 John Morgan Archive
Scorsese’s The Irishman
🔊 Listen RSS
Email This Page to Someone

 Remember My Information



=>

Bookmark Toggle AllToCAdd to LibraryRemove from Library • BShow CommentNext New CommentNext New ReplyRead More
ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
AgreeDisagreeThanksLOLTroll
These buttons register your public Agreement, Disagreement, Thanks, LOL, or Troll with the selected comment. They are ONLY available to recent, frequent commenters who have saved their Name+Email using the 'Remember My Information' checkbox, and may also ONLY be used three times during any eight hour period.
Ignore Commenter Follow Commenter
Search Text Case Sensitive  Exact Words  Include Comments
List of Bookmarks

Martin Scorsese’s The Irishman is a return to well-trod ground – not just for the director, but for the actors concerned as well, not to mention Hollywood. It’s an organized crime story, the twist being that it has a political aspect to it as well. The cast is a veritable reunion of all the still-living actors who have played famous Italian-American mobsters in cinema or television over the past half-century: Robert De Niro, Joe Pesci, Ray Romano, Bobby Cannavale, Harvey Keitel, and last but certainly not least the Godfather himself, Al Pacino.

These master thespians all comport themselves adequately, although one can’t help but feel that they’re all playing roles they’ve already played several times before. (And given that most of them are now pushing 80, they’re only believable in their roles with the aid of digital age reversal – and in the occasional physical action sequences they’re in, even the digital effects can’t hide the dissonance.)

The first third of the film, while engaging and well-filmed, feels like a rehash of every mafia film since The Godfather: Struggling, working-class European immigrants – or sons of immigrants, in this case – discover that the only way they can make it out of the lowly station life has dealt them is to hook up with the mob. In this particular story, the narrative focuses on Frank Sheeran (De Niro), an Irish/Swedish-American truck driver from Philadelphia and Second World War veteran – nicknamed “The Irishman” by his literal partners in crime – who begins his career by stealing some of the prime steaks he is transporting for the trucking company he works for and selling them to high-end clients. This soon brings him into contact with organized crime elements, and before long, he becomes a hitman for them.

The film is mostly told in medias res by Sheeran, relating his life story while sitting in a wheelchair in a nursing home near the end of his life. Uniquely, the story of Sheeran’s life is framed by a second narrative as well, in what at first appears to be Sheeran taking an innocuous drive to attend a friend’s wedding with his closest colleague, Russell Bufalino (Pesci), in the passenger seat – which is actually, as we discover later, taking place during the events of late July 1975 surrounding Jimmy Hoffa’s famously unsolved disappearance. (There be spoilers ahead.)

Frank Sheeran, like all of the film’s other major characters, was an actual person, and The Irishman itself is based on Charles Brandt’s 2004 biography of Sheeran entitled I Heard You Paint Houses (supposedly a mafia code phrase for hitmen), which Brandt claims was itself based on conversations he had with Sheeran prior to his death in 2003. It should be noted that while elements of this book have been independently corroborated, some of them – especially its more controversial assertions – have been disputed. Sheeran, conveniently for Brandt, hasn’t been around since the book’s publication to affirm or deny its contents. I haven’t read this book, however, so this review is an evaluation of the film’s merits rather than its historical accuracy.

To return to the film’s narrative, the first third depicts Sheeran’s rise to prominence within Pennsylvania’s Bufalino crime family as a hitman. We are told that Sheeran made such a good executioner because he had been ordered to execute German prisoners of war so often during the war that he eventually grew indifferent to the exercise (something that the real-life Sheeran similarly claimed).

There’s really nothing in this part of the film that we haven’t seen before in Scorsese’s earlier mafia films such as Mean Streets, Goodfellas, Casino, Gangs of New York, and The Departed. And just as in those previous films, we are treated to several slow tracking shots of brutal mob violence contrasted with innocent popular music from the era.

Indeed, The Irishman steals even from the mafia films of other directors, most especially The Godfather. There are several lines of paraphrased dialogue from the latter; the one that sticks in my mind is when Sheeran, in a voice-over, tells us that he didn’t equip a handgun that he uses in an assassination with a silencer because it’s better to leave it noisy so that it scares the bystanders away. Anyone who has seen The Godfather will remember the famous line when Peter Clemenza tells Michael Corleone (Pacino) that he is leaving a silencer off a handgun that he is giving to Michael to use in a hit because “it scares any pain-in-the-ass innocent bystanders away.” As it’s not a crucial plot point, it’s unclear why Scorsese felt the need to include a line that so obviously repeats one of the most well-known films in cinematic history. And the same sort of repetition occurs a number of times.

The next act sees Sheeran assigned as a bodyguard to the Buffalinos’ most prominent ally, Jimmy Hoffa, the famous President of the Teamsters Union who disappeared under mysterious circumstances in 1975 (as the film never tires of reminding us). Being forced to spend a great deal of time together, the two become close friends, with Sheeran becoming an unofficial advisor to him. Sheeran and Hoffa’s families also grow close. We learn that Sheeran is estranged from his youngest daughter, Peggy, given his violent temperament and double life, but she soon takes a strong shine to Hoffa, who is more of an ideal father figure given that he is an idealistic crusader who dwells in the public eye rather than the shadows.

Like all of Scorsese’s crime films, The Irishman is really exclusively a story of men. All of the main characters are married and have children, but as in the earlier films, they are reduced to little more than props, having no significant dialogue whatsoever and rarely interacting with the story in any significant way. (I suppose Scorsese can get away with such blatant misogyny in the age of #metoo since, after all, these are all supposed to be bad guys, so of course they are patriarchal.) Perhaps this really is how things are in crime families, but it seems especially odd here given that Peggy’s relationship to Hoffa becomes a crucial plot point – and yet she is almost completely absent from the narrative. I’ll discuss this more later.

Hoffa eventually encourages Sheeran to run for the presidency of a local Teamsters chapter in Delaware (which he strongly hints Sheeran can’t lose), and Sheeran agrees, thus becoming a member of the Teamsters leadership himself. (The film shows this happening much earlier than it did in reality, however.)

With the introduction of Hoffa, the film begins to diverge somewhat from the usual mafia film formula by delving into the world of politics. We learn how the mob mobilized to make sure that John F. Kennedy defeated Richard Nixon in Chicago in the 1960 presidential election, with the expectation that Kennedy would return the favor after becoming President by invading Castro’s Cuba and thus allowing the mafia to reassert control over the hotels and casinos there that it had owned prior to the revolution. The invasion – the Bay of Pigs – fails, however, and the mob feels like it’s been cheated. (None of this is new and has been rumored since the 1960s; it’s a major plot point in Oliver Stone’s 1991 JFK film. Indeed, The Irishman seems to poke fun at this connection by having Joe Pesci’s character, Russell, refer to David Ferrie, who was involved with the anti-Castro resistance, as a “fairy”; Pesci had played Ferrie in Stone’s JFK.)

Adding insult to injury, Kennedy appoints his brother, Robert, to be Attorney General, and Bobby makes it his personal crusade to go after Hoffa, according to Hoffa himself because he had donated money to Nixon’s campaign (the film never bothers to explain why Hoffa would have given money to the candidate running against the one his closest allies were supporting, nor why Bobby would have wanted to go to war with the same people who had helped his brother become President). The pressure increases on Hoffa until Kennedy’s assassination in November 1963. Although not stated directly, the film strongly implies that the mafia and Hoffa himself were involved in Kennedy’s death, which risks sending the film over the cliff into conspiracy theory land. Fortunately, this is passed over quickly and forgotten.

Nevertheless, Hoffa is still in hot water, and in 1964 he is sent to prison after being convicted for jury tampering. He is eventually released after a presidential pardon by Richard Nixon in 1971, but in the intervening years, the Teamsters’ new leadership ends up becoming even more closely intertwined with the mafia by giving it loans out of their members’ pension fund. Upon Hoffa’s release, the organization is completely subservient to them, and he begins plotting his return – both through political maneuvering and through some good, old-fashioned muscle. Hoffa claims that he knows he can beat the mafia and retake the Teamsters because he has information that could send them all to prison.

The Irishman is not the first cinematic depiction of Jimmy Hoffa’s rise and fall – it was previously attempted in Danny DeVito’s forgettable 1992 film, Hoffa. However, for all of Hoffa’s flaws, it is ultimately a better film about the man because it actually shows us why Hoffa was such a highly respected leader by his union’s members.

Since it is focused entirely on Sheeran’s story, The Irishman completely ignores the twenty years that Hoffa spent between the 1930s and the 1950s building the Teamsters from a tiny organization with fewer than a hundred thousand members into a large, nationwide union with a membership roster in the millions – one which significantly improved the lives of American workers. The Irishman brushes past this by simply telling us in a voiceover that “in the 1950s, Hoffa was like Elvis; in the 1960s, he was like the Beatles,” and giving us a couple of scenes of Hoffa addressing cheering crowds of union members.

Scorsese seems completely uninterested in the political dimensions of the story he is telling, unlike his predecessor, Francis Ford Coppola, who turned The Godfather films (not to mention The Conversation) into profound meditations on the morality and nature of power politics. Scorsese reduces Hoffa to just another mobster.

Al Pacino is also an odd choice to play Hoffa. He makes several derogatory remarks about Italians throughout the film, which sound odd coming out of the mouth of one of the most iconic Italian-American actors of all time. Physically and in his mannerisms, Pacino’s Italianesque Hoffa bears little resemblance to the real-life German-Irish Hoffa; most obviously, Pacino makes little attempt to hide his New York accent – Hoffa, who was born in Indiana and lived nearly his entire life in Michigan, certainly didn’t speak or act as Pacino does here (as can be seen in this video of the actual Hoffa). Again, while it is not a very good film, the 1992 Hoffa film stands out for the excellent performance Jack Nicholson gave in the title role (see here), coming far closer to the mark than Pacino (see here).

In the film’s third act, the Bufalino family finally has had enough of Hoffa’s threats and decides to have him killed. The triggerman they select for the job is no less than Sheeran himself; they know that he’s one of the only people Hoffa trusts, and also that Sheeran would undoubtedly warn Hoffa of the plot unless he had already been implicated, as he has been by driving with Russell to Michigan (as shown in the film’s framing scenes) while unaware of the true purpose of their journey. Knowing that the consequences for him and his family would be dire if he doesn’t comply, Sheeran carries out the deed; Hoffa’s body is quickly cremated, the plotters are never discovered, and Hoffa’s disappearance becomes the stuff of American legend.

As Sheeran himself notes in the voiceovers, unusually, no one involved in the plot ever gave away what really happened. Most of those who were leaders in the Bufalino’s orbit at the time of the murder are soon killed off themselves in the ensuing infighting. Sheeran and Russell are convicted on unrelated crimes and sentenced to prison terms; the older Russell dies before his term is completed, but Sheeran makes it out.

Sheeran attempts on numerous occasions to reestablish contact with his daughter Peggy, but since she knows that he was undoubtedly involved with Hoffa’s disappearance, she refuses to have anything to do with him. This seems like a dramatic payoff that the film hasn’t earned. Peggy is virtually absent from the rest of the film apart from a few scenes where she glares disapprovingly, yet silently, at her father, and a couple where we see her enjoying Hoffa’s company. But given that she has virtually no dialogue or role in the story, she’s more of a cipher than a character, and it makes it more difficult for the viewer to sympathize with Sheeran’s loss.

The last part of the film shows Sheeran aging – his wife dies, he is left wheelchair-bound, and he moves into a nursing home, still tormented by his alienation from Peggy and his betrayal of his old friend. This, for me, was the most interesting part of The Irishman, as it entered into territory shared by Scorsese’s most powerful existential works such as Taxi Driver, and his spiritual films such as The Last Temptation of Christ and Silence.

The FBI pays Sheeran a visit, urging him to confess to Hoffa’s murder, pointing out that everyone else involved in the conspiracy is already dead – but Sheeran refuses to oblige them. Even his priest attempts to ferret a confession out of him, but apart from some vague intimations, he keeps his silence.

The voiceovers offer no insights at this point. What is Sheeran’s reason for keeping the secret? Is it out of some Prussian sense of duty that transcends the merely personal? Is he afraid the FBI would prosecute him in spite of his condition? Is it because he fears Peggy will hate him all the more if the truth she suspects is proven at long last (my personal feeling)?

We never find out, and the film ends with a shot of Sheeran alone in his room, peering out of its open door – perhaps waiting for Death to cross the threshold and release him from his agony, or perhaps gazing at us, knowing that we, the audience for whom he has been narrating the story all along, are his true confessors.

Of course, Charles Brandt claims that Sheeran attested to Hoffa’s murder during their conversations shortly before his death – but we only have his word for it that this is so, and others have contested it. Thus, in the end, we are still left to wonder if Sheeran is really the solution to the great Hoffa mystery or not.

Its powerful ending notwithstanding, The Irishman is mostly just history forced into a run-of-the-mill gangster story. I was left with the impression that Scorsese was burning to make one more mafia film, and, bolstered by bringing the entire band back together from his previous efforts, was less interested in telling Sheeran and Hoffa’s actual story than simply using it as a hook to hang the usual tropes on. But Hoffa’s saga is much more than just a gangster story, and it’s a disservice to history to reduce it to such. Thus, I believe that the film is ultimately a failure – if an entertaining one.

One final note I will make is that, as I mentioned in relation to their patriarchal nature before, gangster films seem to be one of the last genres of cinema in which it is acceptable to express racism and tribalism (at least by whites). Hoffa constantly disparages the Italians (I guess this is acceptable in the woke world since they’re white), and Russell rails against Jewish mobsters using choice language in several scenes. I suspect the only reason that Scorsese can get away with this is because it’s understood that these are “bad” men, and hence the fact that they’re using racist language is inherently a denunciation of them. But more generally, mafia films are the only type of movie that still gets made which are permitted to acknowledge the fact that America is made up of competing power blocs based on ethnicity and race rather than presenting some universal, civic America where individuals have been drained of any overt ethnic and racial qualities that clash with one another.

Simply on the level of entertainment, The Irishman is a compelling gangster story (despite being three and a half hours long, I never felt tired while watching it in one sitting), and if one hasn’t seen Scorsese’s previous films in this vein, I imagine one could appreciate it much more than would a seasoned cineaste. And even if one is, it’s still worth a view – just don’t get your hopes up too high. When Scorsese’s oeuvre is ultimately evaluated as a whole, I’m sure The Irishman will be ranked near the bottom of the list.

(Republished from Counter-Currents Publishing by permission of author or representative)
 
• Category: Arts/Letters • Tags: Mafia, Martin Scorsese, Movies 
Hide 172 CommentsLeave a Comment
Commenters to Ignore...to FollowEndorsed Only
Trim Comments?
    []
  1. Hail says: • Website

    Great to see John Morgan published here at the Unz Review.

    John Morgan is one of the best, unsung thinkers/commentators on the Right; look no further than this excellent insight I don’t recall ever hearing someone make before:

    mafia films are the only type of movie that still gets made which are permitted to acknowledge the fact that America is made up of competing power blocs based on ethnicity and race rather than presenting some universal, civic America where individuals have been drained of any overt ethnic and racial qualities that clash with one another.

  2. DeNiro’s scene where Sheeran calls Hoffa’s wife to offer sympathy and comfort is a masterpiece. Mrs. Hoffa strongly suspects Jimmy is gone and we hear her almost-frantic fear over the phone. DeNiro shows Sheeran’s hypocrisy, guilt, and the fact that Sheeran is at heart an average working man — the scene is terrific. Most of the movie was somewhat trite, but that particular scene sticks with me.

    • Replies: @Andrew Mcguiness
  3. Denis says:

    I actually loved this movie. The author of this article agrees that it is highly entertaining, and seems to be disturbed by its historical elements more than anything else. I for one was impressed that the film was willing to make controversial assertions about the fate of Kennedy and the nature of his election, and I did not find its depiction of Hoffa to be particularly defamatory.

    Granted, I was never familiar with Jimmy Hoffa’s story to the extent that the author appears to be. I had the vague impression that he was a gangster that headed the teamsters. With this as my only real prior awareness of the man, I found his depiction to be probably the most sympathetic among all the people depicted in the film, although that isn’t saying much.

    Furthermore, even though this film has some balls in asserting a conspiracy was responsible for JFK’s election and murder, I don’t think the political element is primary. It’s really a closer of sorts for mafia movies, a story about how ruthless, amoral, futile and sad that path in life is.

    I would actually place it high above the other mafia films I’ve seen, like Godfather and Goodfellas; those seem like fairy tales by comparison. I highly recommend ‘The Irishman’.

    • Replies: @John Morgan
    , @Anon5000
  4. Dumbo says:

    Another not-so-interesting film review. What is it with alt-right people that they can’t seem to write well about movies. Still I agree that the second and especially third part of the film are the most interesting.

    I disagree that Hoffa is presented as just another mobster, he is shown mostly pretty much in opposition to them, both in character and action, especially seen in his conflict with Tony Pro. Mostly he sees them as unwanted allies, and as said, he’s very disparaging about Italians (even though Pacino looks and acts more Italian than many of them).

    The film is good, not great, certainly not among Scorsese’s best, but it never feels long or boring, and has some nice scenes. I agree that the Peggy motif is unconvincing. Also the “Forrest Gump-style history of the USA” angle is a bit annoying. And Pacino doesn’t look or act like Hoffa at all, but he’s funny in the role. Joe Pesci however is the best one of the lot.

    It’s not as good as Goodfellas or Casino, of course it tries to be something different, but kinda fails at that, and the best parts end up being the ones more similar to those other mob movies (excepting the last third – perhaps if Scorsese had forgotten about the de-aging and just made a movie about 80-year old mafiosi reminiscing and paying for their sins it could have been interesting, although too depressing for the average viewer).

  5. Could anyone under fifty follow this movie? It’s weird what Scorsese focuses on and what he ignores — a very detailed re-creation of the old original Umberto’s Clam House (I was there in the seventies — must have been a lot of work) versus former NYPD detective Bo Dietl as a Chicago union boss/gangster with a very pronounced New York accent.

    I’m always confounded by Marty’s obsessive Hibernophilia/Hibernophobia, is this a NY Italian thing? I’ve known a lot of Irish-Americans, no big deal one way or another as far as I can tell.

  6. There is no “Irishman”. He’s a jew. And he was a jew. They’re all jews. Not “Italians,” not “Russians,” etc. They’re scum jews.

    All these top actors are jews, a couple of whom, such as DeNiro, are still crypto-jews pretending to be Whites.

    It’s funny that in the movie, a couple of times, one of these jews calls somebody else a “jew.” It’s a cover move, of course, to pretend that jews were/are a mere minority in the leadership of the criminal organizations.

    The most important aspect of the movie, for me, was its support for Hoffa, its sympathetic treatment of Hoffa. (Example: The “Irishman’s” daughter likes Hoffa and dislikes her own father.) This means that Hoffa was a jew, though this is still an official secret.

    Jews sometimes kill other jews. Most obviously, this is done when a particular jew gets too big for his britches. Hoffa wouldn’t retire, despite strong nudges from above. Hoffa claimed to own the Teamsters union. He was taught otherwise.

    None of the jew leaders of their various mafia, mobs, syndicates, etc., are the top jews of the world. As best we can tell, the Rothschilds are the top. They named the street to the Supreme Court in Israel after themselves.

    Back to the movie, why lyingly title it “IRISHman”? Next to Germans, the Irish are the second most-hated subrace of our White race supremely hated by the jews. It’s propaganda against Whites every time the jews say “Italian mafia” and “Irish mafia” and “Russian mafia” instead of saying the truth, “jew mafia.”

    Anti-White propaganda. Can anyone name a single movie from the Hollywood (jewlywood), New York (jew york), London (jews totally own the one-square mile City of London) movie network that doesn’t contain anti-White propaganda?
    No.

  7. Hibernian says:

    This review doesn’t even touch on the electronic de-aging process used and barely mentions the issue of whether Sheeran was telling the truth about the Hoffa hit or even whether he ever killed anyone for the Mob. One stereotypical Irish characteristic which unfortunately has some basis in fact in some people’s behavior is outlandish story telling.

    • Replies: @John Morgan
    , @Flubber
  8. Omegabooks [AKA "Anon"] says: • Website

    Sorry, boycotting DeNiro. Hollywood hypocrite extraordinaire, possible Weinstein-esque rapist, that sorta thing.

    • Replies: @Jeff Stryker
  9. @Omegabooks

    The URBAN COWBOY CONUNDRUM: Non-Italians cannot play Italians and Italians cannot play non-Italians.

    Harvey Keitel is Polish-American and looks it (Little known fact that his Jewish parents adopted him from fellow Polish emigrants). Its like when Charles Bronson played Joe Valachi. He looked to Slavic. So does Keitel with his wide-cheekbones and round head and light complexion and snub nose.

    Al Pacino is one of those Sicilians with considerable Arab admixture. He looks Arabic. He could better play an Arab than Jimmy Hoffa. Jack Nicholson shares Hoffa’s ancestry-both were Pennsylvania Dutch (German) and Irish-American. Pacino is so Arab/Greek that he can only play Cubans or Jews. He’s swarthier than mainland Italians like James Gandolfini.

    De Niro is a quarter Irish and even spent some of his youth in Galway with his father’s relatives as a teenager but is still too Italian looking to play an Irish-American.

    There is simply that Greek and Phoenician and Arab admixture in Italian DNA that prevents them from playing non-Italians.

    Joe Pesci can play Jews, as he did in Lethal Weapon. Italians can only play Jews and Jews can only play Italians. This is because the Askenazi race was beget by Judea male migrants intermarrying with Roman women after Hadrian and before the Fall of Rome.

    The only exception are a few light-skinned Hispanics like Andy Garcia or John Leguizamo.

  10. theMann says:

    136 uses of the F word, says IMDB.

    Garbage in, garbage out.

  11. Italians playing Irishmen. Englishwomen playing “An American Woman.” What is the world coming to. They even got immigration in Hollywood.

    • Replies: @Jeff Stryker
  12. Non-Italian hit man or pathological liars?

    “We got 200 buttons on the street in Brooklyn, what do we need that Polack for?”

    Dominic Montiglio on Richard Kulkinski (Who seemed to lead other non-Italian criminals into believing he was mob-connected and then killed them in ripoffs).

    “There’s no such thing as being paid for a hit”

    Nikki the Crow Scaramonga on contract killings.

    Why would the mafia hire a non-Italian to kill Jimmy Hoffa when a family member would do it for free?

    • Replies: @Bugsy
  13. @obwandiyag

    It goes for blacks too.

    Yaphet Kotto looks too African to be a black American thug or cop. His Ghana accent is too strong.

    Eddie Murphy has too much Irish ancestry to be an East African in COMING TO AMERICA.

  14. Would it be too much to make a movie about labor organizing?

    Jimmy Hoffa, a proud Pennsylvania Dutchman, was a brilliant and truly great labor organizer. Unlike most politicians worshiped by the liberal/conservative foolemony, Jimmy Hoffa put food on people’s plates, roofs over their heads, and job security for supporting growing families.

    Kind of like Saddam Hussein and Moamar Khaddafiyeh. More people you’re supposed to hate.

  15. @James Laffrey

    What would the IRA say about this Irish-American so casually and wantonly executing German POWs? Real Irishmen were always sympathetic to Germans, even though some may have fought on the other side. But like you say these mafias could all be Jews. So do Jews hate the Irish because they’re not anti-German enough?

  16. Scorsese’s FANNY AND ALEXANDER? One more time.

  17. Hoffa constantly disparages the Italians (I guess this is acceptable in the woke world since they’re white), and Russell rails against Jewish mobsters using choice language in several scenes. I suspect the only reason that Scorsese can get away with this is because it’s understood that these are “bad” men, and hence the fact that they’re using racist language is inherently a denunciation of them.

    Just like blacks can call each other ni**ers, whites can call each other lots of stuff.
    Also, what Jews are most sensitive about is ANGLO snobbery in the North and SCOTCH-IRISH hostility toward blacks in the South. Jews see inter-ethnic warfare as all-in-the-family, one among the ‘immigrants’.
    Besides, even as Jews, Italians, and etc didn’t get along always, they were united against Wasp power and privilege for so long. Jews didn’t like Italians but nevertheless regarded them as rougher and dumber version of themselves: swarthier ethnic climbers.
    When Jews see THE GODFATHER, they empathize with the Corleones as fantasy-Jews.
    Also, Jews figured that they would soon rise about Italians. At the top, they would have to take on and depose the Wasps, and therefore, Jews had to go easier on ethnics like Italians and even Irish Catholics. They needed allies. So, while Wasp tribalism is seen as horribly ‘racist’, ethnic bias is seen as tough guy antics. It’s like Latin machismo is okay.

    As much as Jews disliked blacks and Italians, they knew that they would have to face off against Wasps at the top. And so, Jews have gone easier on co-ethnics, esp the swarthier ones as both Jews and Italians were objects of some degree of contempt by Northern Aryanists. Now, why did Jews become anti-Southern Scotch-Irish? Because Jews need blacks on their side to rake in big profits from sports/music and also white elite guilt is milked mainly by the Black Slavery and Civil Rights narrative. Blacks have been made holy, so there is NO JUSTIFICATION for anti-black ‘racism’. Jews didn’t have to depose the Southern Whites to gain supreme power in the US, but they needed holy negro narrative to neutralize white pride and unity, and that meant attacking the white south as incorrigibly evil.

    To understand Jewish bias, one only need to watch Gene Siskel Unfiltered.

  18. “..conspiracy theory land”? You are naive if, after all these decades you still think the Warren Report is real. I mean the most recent official conclusion of the US Government is that JFK’s death was likely the result of a conspiracy. Seriously? You prefer to believe the Magic Bullet Theory?

  19. Bugsy says:
    @Jeff Stryker

    “Why would the mafia hire a non-Italian to kill Jimmy Hoffa when a family member would do it for free?”

    Very good point. Yet some decades ago I was told by one of Bufalino’s associates that there was a time when the mob had discussed recruiting non-Italian members. You could get in if an Italian in good standing “vouched” for you, but if you screwed up afterwards of course both you and your ‘voucher’ were going to be in some trouble. Nevertheless, I suspect Italians still trusted Italians more than outsiders.

    Regarding Sheeran’s hesitation to talk, if indeed his story is true, the reason is simple: if you talk publicly about mob business, especially something like the hi-profile Hoffa murder, there is going to be serious retribution unless you can get your ass into witness protection immediately. If they couldn’t get to Sheeran in prison, his daughter would certainly be considered fair game for punishment. He was probably just trying to protect his family.

    I didn’t see the movie, but I read the book. Something doesn’t ring true about it. Bufalino was the world’s pre-eminent master of the low profile, the complete opposite of all the celeb style mob figures that followed his era. His house, just down the street from where I used to live, was the epitome of non-descript. I don’t see him risking the kind of exposure that could come with a hit on Hoffa, but if he did, I’m also sure no one would ever have known about it.

  20. Boycott Scorsese.
    His career has primarily consisted of helping Jews to portray thieves, scum, murderer as the ‘good guy’. That is called inversion. Upending what is good and calling it bad, upending bad and calling it good.
    aka the luciferian doctrine.
    May he repent or burn in hell.

    DeNiro is beneath comment as are the rest of the ‘actors’, aka hired soulless scum

    • Agree: utu
    • Replies: @Rurik
  21. Scorsese included the obvious lines from the Godfather to “honor” the superior talents of FFC…

    • Replies: @Z-man
  22. Spike says:

    Well, DeNiro, that foul mouthed, low class, low IQ thing is in it. Any theater he’s playing at is a no go zone for me. I’d rather buy a Kapernick jersey. The millennials and zoomers don’t even know who these actors are. They don’t care what these old white guys say or do in their all-old-white-men movie. The mobster movie genre is dead.

    • Replies: @Jeff Stryker
  23. @Priss Factor

    Italians and Jews share genetic ties. Askenazi DNA is 40 % Italian.

    • Replies: @Truth3
    , @Dumbo
    , @Sailorant
  24. Z-man says:
    @Priss Factor

    Thanks for that clip of Siskel & Ebert. Wow Siskel has been dead for over 20 years already, sh*t! Heck, Ebert’s been gone for a half a dozen now, sheeeit time flies.
    That’s a classic Jew practice of ‘deflecting’ attention on them by Siskel saying that the WASP’s still run the country. (See article ‘Is It “anti-Semitic” to Say There Is War on Christmas?’ by Kevin MacDonald, right here on this site) Since that clip is well over twenty years old I don’t think that Siskel could make that same argument now if he was alive, with either a straight face or tongue in cheek since the ‘Power of the Cabal‘ is so much stronger now than it was even just 25 years ago.**
    As for calling Italians disparaging names. No group and I mean no group gets slandered more than Italians in Jewllywood. There’s a special hate in Jews hearts for Romans and their decedents that goes back to Jesus’s time. Italian-American organizations try to combat this at times but they are helpless when it comes to the power of Big Jew.
    I gave Francis Ford Coppola credit for disparaging Jews slightly in his Godfather movies and even Scorsese and other artists have snuck some in but that is an uphill battle.
    ** But with this arrogance of power will come the exposure of their lies and pernicious power and a reckoning.

    PS. I haven’t seen this movie yet, will see it at a viewing party after New Year’s. But speaking of the actors, De Niro definitely doesn’t look Irish. Considering he’s the least Italian of the three leads with a good deal of Irish blood in him I find that funny. As for Pacino, he seems miscast as Hoffa. They should have used more make up or CGI ways to alter his appearance to make him look more like Hoffa.

  25. Skeptikal says:

    I read Brandt’s book years ago. I found it lying on the ground in the parking lot of the local thrift shop. I picked it up and leafed through it—having no idea what it was about—and was hooked.

    I thought it was excellent.

    I do not plan to see Scorsese’s movie, as it appears to be what I immediately suspected it would become as soon as I heard that he had bought up the rights for it. Basically, an ego trip for Scorsese— grist for his mafia mill. .
    Why doesn’t he try something new?

    Anyhow, the structure of the book is that Sheeran’s words as recorded and transcribed by Brandt are presented in long blocks of text. Then Brandt expands on Sheeran’s comments with some analysis, historical background, etc. I found the book to be very readable and I recommended it to a number of friends who I know are interested in getting behind the scenes of American history.

    To me, Sheeran comes across as a sympathetic character. He was a great ladies’ man, a good dancer so that is often a key to attracting women. And he was big and strong and handsome. Much better looking than De Niro. He definitely was not stupid. Either through Sheeran’s words or through Brandt’s additions (I cannot recall which), justice is done to Hoffa’s early career as a teamster and a champion of workingmen’s rights and interests in the tough thirties. The trajectory of Hoffa’s career and the pressures he himself came under are described. IMO the book is a cameo portrait of an important segment of American society and social and economic history. IMO it gives both Hoffa and Sheeran a fair shake, even though both are part of the Mob. But that is the American story, is it not?

    In the book Sheeran is under intense pressure to be the hitman on Hoffa because, yes, he is the only person Hoffa trusts enough to get into the car with him and drive to a residence where Hoffa expects to meet with . . . someone, I cannot recall whom. Where Sheeran then shoots him. So, yes, Sheeran was a friend to Hoffa, cared about him, but couldn’t actually get out of the snares that forced him to betray Hoffa.

    Not being an expert on Hoffa (of course I do recall his disappearance and the ongoing mystery) I saw no reason to doubt Sheeran’s story nor the reliability of Brandt’s added commentary. The book also has quite a few interesting photos of Sheeran and others to bolster Sheeran’s version of events.
    One of the people discounting Sheeran’s story is a relative of the guy who Sheeran says drove a particular vehicle. This fellow obviously has a dog in the fight of devalidating Sheeran’s version of events—to place his uncle or whoever far away from the Hoffa assassination.

    • Replies: @John Morgan
  26. @Spike

    Zoomer actors are metrosexual gays or professional wrestlers.

  27. @Hibernian

    “And given that most of them are now pushing 80, they’re only believable in their roles with the aid of digital age reversal – and in the occasional physical action sequences they’re in, even the digital effects can’t hide the dissonance.”

    “It should be noted that while elements of this book have been independently corroborated, some of them – especially its more controversial assertions – have been disputed. Sheeran, conveniently for Brandt, hasn’t been around since the book’s publication to affirm or deny its contents. I haven’t read this book, however, so this review is an evaluation of the film’s merits rather than its historical accuracy.”

    • Replies: @Hibernian
  28. @obwandiyag

    As I mentioned in the review, Danny DeVito’s 1992 “Hoffa” biopic was an attempt to do that, and is a better film about Hoffa, even if it’s not very good, either. Although about labor organizing at least we have “On the Waterfront.”

    • Replies: @utu
    , @obwandiyag
  29. Yeah, I thought it rather topical boiler plate. How many times must we endure the mobster going nuclear and storming out of the house to beat the shit out of some guy who slighted his family? Obligatory sideshow in mafia films I guess.

  30. Emslander says:
    @Hail

    I’ve already filed this magnificent insight to the vault in my brain that holds the indelible truths of American culture.

    Thank you, Mr. Morgan.

  31. @Z-man

    As for calling Italians disparaging names. No group and I mean no group gets slandered more than Italians in Jewllywood. There’s a special hate in Jews hearts for Romans and their decedents that goes back to Jesus’s time. Italian-American organizations try to combat this at times but they are helpless when it comes to the power of Big Jew.

    No, Italian tribalism and mean-ness are seen as kinda cool. At the very least, it can be enjoyed as entertainment. In contrast, similar attitudes and actions by Anglos and Germanics are deemed unforgivable. Jews dreaded Nazi Germany, not Fascist Italy. And Jews don’t denounce Latin American whites despite their genocide and slave trade.
    The whites that Jews both fear and value most are Northern Europeans. NE’s are potentially the most dangerous(when the Saxon learns to hate) and most useful(if you can gain control over them). It’s no accident that Jews met their greatest tragedy at the hands of NE’s(the Shoah) and attained the greatest power by riding the Anglo-American horse.

    So, whereas Italian braggadocio and Latin machismo are tolerated, no such is tolerated among Germanics and Anglos(unless it’s fittingly mythical and removed, like the first Conan movie). Mafia is presented as entertaining, even cool.
    But Northern European pride is presented as either ‘Nazi’ or ‘KKK’. Jews often use Italians as phanta-proxies of how they themselves feel. And Jews forged an alliance with Latin whites who rag about gringo.
    So, on some level, Jews regard Latins as allies or partners, whereas the Northern Europeans are seen as the Eternal Enemy and Necessary Slave. As far as Jews are concerned, they must destroy NE pride or shall be destroyed by NE power. By robbing NE’s of pride, the NE’s are made to serve Jews as masters.

    • Disagree: Z-man
  32. ricpic says:

    Okay, I didn’t read this review but I did go see The Irishman, which was playing in a so-called local Art House. I have never in all my life sat through such a thoroughly DISINSPIRED film. Not a single spark in the whole endless thing. Although, to be honest, I was so disinspired that I walked at the hour and a half mark and missed exactly ZERO.

    • Replies: @annamaria
  33. Rurik says:
    @steinbergfeldwitzcohen

    Boycott Scorsese.
    His career has primarily consisted of helping Jews to portray thieves, scum, murderer as the ‘good guy’.

    Since my girlfriend has Netflix, I watched it, since it was free to do so. (I would never have paid a cent to see a De Niro film).

    Bland, trite and formulaic. Carried only by a waning nostalgia for the thespian Methuselahs.

    The theme of the movie, is that Hoffa, (a predictably bigoted Anglo- like all the rest ; ), was not murdered by a ‘Guido’ or a Jew, but rather by just another vicious fellow WASPy, Anglo-type of whitey. (is there even a shred of evidence that ties Sheeran to the killing?)

    No memorable scenes, unless it’s the geriatric De Niro (CGI’d to look young), trying to ‘savagely’ kick some shopkeep for being rude to his daughter. I imagine Bernie Sanders would have been more convincing as a strongman thug.

    The societal undertones of this movie should be part of any review on a site like the Unz Review, which was at least touched upon here:

    ..permitted to acknowledge the fact that America is made up of competing power blocs based on ethnicity and race rather than presenting some universal, civic America..

    The preposterous, if predictable gushing over this movie is 100% about De Nero’s positioning himself as the anti-Trump, vs. all the Deplorable racists who voted for him.

    That
    is why the mediocre (at best) movie is receiving all the accolades from the Hollywood types and our cultural elites.

    But it’s also why they were loath to release it to the movie theaters in the typical way. Because they knew there were scores of millions of Red State Americans that couldn’t wait to boycott De Nero.

    De Nero’s entire career has been a slur at whitey. Just check out his movies.

    In the Godfather, whitey (and white society) is portrayed quintessentially as thus:

    A corrupt, bigoted, sexual deviant, like all of white America.

    In the Fockers, or Machete, he plays a WASPy, bigoted creep

    In Cape Fear, it’s a redneck, Christian, rapist, child molester and murderous super-creep

    In movies like Heat, the Italians De Nero and Pacino are super-cool, and the Anglo, (Val Kilmer) is a cuck.

    In the (otherwise excellent) movie Ronin, De Nero gets to live out his fantasies by slapping around and humiliating the uber-whitey actor Sean Bean. As other uber-whitey actors (Stellan Skarsgård and Jonathan Pryce) are the very incarnation of white male treachery and betrayal.

    There is a theme that runs though De Nero’s career that dove tails perfectly with the overt anti-white hatred of ((Hollywood)). So it’s really no wonder this guy is all over the place shitting his diapers over Trump.

    And The Irishman is just more of the same, only unlike Ronin, isn’t even entertaining.

    >>><<<

    Being too young to know much about Hoffa, why is it that Danny DeVito's movie and The Irishman both show Hoffa with a close confidant, only the movies show two completely different men.

    Are either of these characterizations in the slightest bit true?

    From what I can glimmer, (not having done the research), is that the DeVito movie is heads and tails closer to the actual Hoffa, and far more entertaining. (even if both show 'whitey' as the assassin – with from what I understand, zero evidence).

    The message of both movies; the Italians are sophisticated and urbane, loath to actually commit violence, and rely on whitey for the dirty work..

    whereas whitey is doltish, bigoted or murderous

    what are the chances that the guy who ultimately assassinated Hoffa, looked like an Indiana farm boy?

  34. Harbinger says:

    I have no time for de Niro, let alone Hollywood and the acting fraternity. All are sell outs sadly. They’ll find work, through their agent and as long as the pay’s good they’ll take the job, even if it means playing paedophiles, portraying them in a favourable light as arch sellout and Zionist, Liam Neeson, did with Kinsey. All are archetypal champagne socialists who have no love for their culture and nation. Those who aren’t are quickly pushed to the fringes of the acting world and forgotten about. As for the Irish man, well, as with all Hollywood and western cinema, I shan’t be watching it.

    • Replies: @Dave Bowman
  35. Dumbo says:
    @Jeff Stryker

    I’m unable to click on the Disagree button, but this is likely untrue.

    • Replies: @Jeff Stryker
  36. Regarding the recycling of 80-year-old actors and old mafia movie tropes, I think this has been a persistent problem throughout Hollywood for quite some time, probably at least a decade.

    We’ve reached a point of saturation where everything is derivative. Whenever I watch a new movie (which is a very rare occurrence for me), there is hardly contained therein a single scene setting or snippet of dialogue that does not bear the distinct impress of some movie or video game that I’ve experienced in the past. The marks are so clear that I could name them off; I could refer you to the exact point in the movie or game that the current scene resembles.

    Now, this is to a large degree inevitable. The iconic entertainment media of the last few generations formed the very culture in which today’s filmmakers grew up, so of course they’re going to be impressed by them. Moreover, modern production schedules are so tight, the corporate demands for profit so insistent, that artists often have no choice but to grasp at the first reliable idea that presents itself, which will almost certainly be well-worn.

    But I think there’s a bit more going on here. I think the film/television medium itself is just about tapped out and that, after a solid century of dominance, its creative possibilities are more or less exhausted. While we may continue to see mega-budget extravaganzas like Avengers, there will never again be anything with the cultural impact and grandeur of a Gone with the Wind or a Godfather. The last retreads are coming to fruition now; in a decade they will be no more.

    By the way, has anyone noticed how the new ultra-high-def widescreen TVs make everything look tacky? Instead of convincingly presenting the illusion of verisimilitude, it’s almost as if you’re sitting right there in the soundstage. The props now look like props and not objects, the actors look like actors and not characters. The once invincible visual media have found their Achilles’ heel. In advancing so far, they’ve destroyed themselves.

    • Agree: Hail
    • Replies: @Dumbo
  37. @Dumbo

    Jared Taylor wrote an interesting article for Amren entitled “Who are the Jews”. According to latest DNA studies which correlate with actual written history, male migrants from Judea wandered to Rome and intermarried with Italian women. Today, your average Ashkenazi is about 40% Italian.

    Sometime after the Fall of the Rome the Ashkenazi moved Northwards into the Rhine, where they did not integrate as well, and eventually migrated to Poland and Russia.

    Read the article.

  38. @Z-man

    I think the real reason the Jews like to depict the Mafia (at least the American Mafia) as an almost purely Italian conspiracy is that it deflects attention from how the ADL was created literally to give an element of protection for the Jews (e.g. Meyer Lansky, Moe Dalitz, and many more) who bank-rolled and led so much of the most massive criminal enterprises in this country.

    Incidentally, Joe Colombo tried to copy cat the Jews by creating the Italian-American Civil Rights League to protest FBI “persecution.” But, it didn’t take.

  39. @Priss Factor

    How can you say that Jews would have to face off with WASPs at the top when it was a WASP – Franklin Delano Roosevelt – who gave them everything they wanted and then some?

    It’s not like the WASPs were some monolith. A great many of them were self-serving greedy men, like J.P. Morgan, who were perfectly happy to get wealthy off world wars and awful ideas like the Federal Reserve. The so-called “Eastern Establishment” consisted frankly of an unholy mixture of wealthier Jews and gutless, traitorous Anglos like FDR, Wilson, Morgan, the Rockefeller’s, et al.

    After all, as many a fascist said, a Jew needs the goyim’s sins to provide him with a place to swim. And the WASPs were happy to sin.

  40. @JessetheGreen

    I don’t think Mr. Morgan was suggesting that the Warren Report was real.

    What he was suggesting was that the movie would have bogged down, and become uninteresting, if it had spent any large amount of time focusing on a transient plot point like speculation on the JFK assassination.

    Also, on the other hand, read Michael Collins Piper if you think it was the mafia that was primarily responsible for the death of Jack Kennedy.

    • Replies: @John Morgan
  41. Dumbo says:
    @Intelligent Dasein

    By the way, has anyone noticed how the new ultra-high-def widescreen TVs make everything look tacky? Instead of convincingly presenting the illusion of verisimilitude, it’s almost as if you’re sitting right there in the soundstage. The props now look like props and not objects, the actors look like actors and not characters.

    I don’t know if this is an effect of HD TVs or the digital shooting format. I clearly still see a difference in movies originally shot (and projected) in 35 mm. But perhaps also the choices of current cinematographers is also to blame. The excessive reliance on CGI is another problem.

  42. Why does Scorsese keep on making such old-fashioned, formulaic & predictable films?

    • Replies: @Dumbo
  43. Dumbo says:
    @Priss Factor

    I think it’s simpler than that. I think that, consciously or unconsciously, Jews kind of identify with the Sicilian mob, so they show them in a sort of sympathetic light. Also it removes the focus on another historical mob, the Jewish mob. (Is it a coincidence that the Italian Leone returned the compliment and made a movie about Jewish gangsters in America?)

    Anglo/WASPs, on the other hand, is that they want to be. If Sicilians are the Id, then Anglos are the Super-Ego. This is why many Jews change their name to anglo names and why they are so whiny about anglo country clubs and exclusive fraternities things like that. They had a similar love/hate relationship with Germans, which they hate/love for Nazism/Wagner/etc, but I think that’s on the wane now.

    As for the Irish, they mostly despise them, simply because the WASPs despised them, because they are Catholic, because they see them as simpleton proles, etc. See “Spotlight” for an example.

  44. Cowboy says:

    Scorsese most interesting existential films were written by Schrader. Nuff said.

  45. Dumbo says:
    @Bardon Kaldian

    Because that’s what he knows what to do? Give the guy a break. From that generation of filmmakers who started out in the 70s, he’s probably the best one remaining. Both The Silence and The Irishman are better than some things he himself did in the early 2000s. Coppola already burned out in the 80s, his last film worth mentioning (and far from perfect) is his version of Dracula in the 90s. Woody Allen also died creatively in the 90s. Spielberg’s peak was also in the 80s. David Lynch’s last good film was “Mullholland Drive” in 2001, the recent Twin Peaks Return, despite some occasional interesting moments, was largely a fiasco.

    All the others are dead.

    • Replies: @Priss Factor
  46. Trinity says:

    hahaha. Joe Pesci, Pacino and DeNiro in a movie by Scorsese in another mob type of movie. I’m guessing this is what the movie is about because I didn’t read the write up. Hey, Scorsese, the 1980’s and 1990’s called and they said it was time to change your tune.

    WHY do YOU PEOPLE even care to watch this Hellywood anti-White crap?? Even if this particular movie isn’t meant to be anti-White, it sure as hell isn’t pro-White, I am sure of that much. Sure Scorsese is Italian, at least I think he is alleged to be Italian, lolol, but this guy’s movies are always the same old worn out theme about gangsters, the mob, etc. BOOOOOORRRRRRIIIIING.

    Okay, forget that Scorsese did a REMAKE of Cape Fear and Taxi Driver was a decent movie, other than that, the guy is a HUGE BORE. AGAIN, WHY ARE YOU PEOPLE CONTINUING TO MAKE JEWS IN HELLYWOOD RICH and watching the same old bullsh*t that Scorsese has been peddling for decades about mobsters and crooks??

    DeNiro always looked and acted Jewish to me just like Joy Behar, another alleged Italian who looks and acts Jewish. Hey, remember when the coolest guy around, “The Fonz” aka Arthur Fonzarelli, was played by Jewish, Henry Winkler? This does seem to be a recurring theme, you had comedian, Andrew “Dice” Clay trying to look and act like a fat “Fonzi” back in the day as well. Bobby certainly likes to swirl with the black ladies and that is definitely not an Italian thing according to my sister in law who happens to be Italian. Bruce Springsteen is yet another alleged Gentile that looks Jewish. Don’t know what ethnicity Brucie claims but he looks and acts Jewish as well. BOYCOTT HELLYWOOD !!!!

    • Agree: Mulegino1
  47. Trinity says:

    Speaking of Scorsese, I just thought of a scene in “Raging Bull” where the “Italian” DeNiro plays the Jewish-Italian boxer, Jake LaMotta. DeNiro looks at actor Frank Vincent’s character ( Vincent was another Scorsese regular who always played a mobster and was always fighting Joe Pesci) says take away their guns and slap them around. I find that most REAL LIFE mob guys are in fact on the small side, although the hothead guy named, “Tommy,” that the tiny Pesci was supposed to be playing in “Goodfellas” was in real life a pretty big guy. The 5-foot nothing Pesci guy playing the role of a tough guy is comical to say the least. You do have GIANT mob guys, like Richard Klukinski aka The Ice Man, but on average a lot of these guys are tiny and like DeNiro said in “Raging Bull,” take away their guns and slap them around. Look at little Sammy “The Bull” Gravano. The guy was about 5’4″ tall and had a nickname like “The Bull?” hahahaha. DeNiro, Pacino, and Pesci are all about the right height to play mob guys. DeNiro is the tall one at about 5’8″ on a good day. lololol.

    • Replies: @Jeff Stryker
  48. @Trinity

    Springsteen was the son of a Dutch-Irish father and Italian immigrant mother.

    • Replies: @Trinity
  49. @John Morgan

    On the Waterfront is evil bullshit. I mean movies that show the truth about how much good unions have done for people, including the Teamsters under Hoffa.

  50. @Trinity

    Sorry, but I cannot by the Sopranos guys displaying sudden bursts of Jason Voorhees strength and throwing people through windows. I know the guy who played Christopher Montesanti is a real life Tae Kwan Do master, but in the role of a spindly heroin addict I could not buy him beating up black thugs twice his size.

    Whenever I see Joe Pesci beating up some guy 3 times his size it just isn’t believable.

    Actually Italian gangsters all claim Kuklinski was a pathological liar who killed low-level criminals by convincing them he was a mob-connected assassin. They all said the same thing: why use a Polack or Irishman when their are 200 “buttons” on the street willing to do anything to move up in a crime family?

    Cops did not believe Kulinski. That is why he was only charged with six murders.

    • Replies: @Priss Factor
  51. Trinity says:
    @Jeff Stryker

    Thanks for the info. Springsteen might as well be Jewish, because he sure is anti-White to the core. I can’t remember the guy’s name who was in his band, some guy who always wore a bandana on his head and I believe he had a role in “The Sopranos.” Anyhow, that guy, whatever his ethnicity happens to be, I am assuming he is another “Italian” guy, had that anti-White song back in the 80’s about boycotting Africa. I believe it was titled “Sun City” or something like that. Good ole anti-White, Brucie, was in the video of course. Funny thing, none of those rockers and rappers that appeared in that particular video that played on MTV back in the day have ever thought about boycotting South Africa when they started butchering Whites starting in the mid 90’s. I guess separate restrooms are more horrific than white children and elderly white women being raped, tortured and then mutilated to those “rock stars” of yesteryear and today.

    • Replies: @Jeff Stryker
  52. Hibernian says:
    @John Morgan

    Sorry I missed the mention of digital age reversal. I think my second point is valid. The issue is too central to be dealt with so briefly.

  53. utu says:
    @Trinity

    Bruce Springsteen Is Jew-ish
    He may be Catholic, but to many fans—including this one—his lyrics speak to a different creed.
    https://www.theatlantic.com/ideas/archive/2019/10/bruce-springsteen-almost-jewish/599146/

    Bruce Springsteen is the son of Catholic parents and grandparents. There is no ambiguity on this point. And yet, in much the same way that New York football fans have casually annexed the stadium across the river to root for what they like to pretend is their “home” team, some Jewish Springsteen fans are devoted to proving that New Jersey’s favorite Irish Italian son is, if not actually Jewish, nevertheless somehow Jew-ish. Perhaps you thought young Bruce was mostly singing about cars, girls, and getting the hell out of town before he switched gears to focus on the dignity of working folk, the broken promises of the American dream, and more cars and girls. But amid the empty factories, crowded barstools, and swimming holes that constitute the foundation of the Springsteen oeuvre, some detect a whiff of the Chosen.

    • Replies: @Trinity
  54. Trinity says:
    @utu

    hahaha. Brucie is DEFINITELY “Jew-ish.” GOOD CALL. haha.

  55. @Trinity

    Like South Africa, certain New Jersey regions were originally Dutch colonies.

    Steven Van Zandt (Sylvio on Sopranos) and Springsteen’s fathers are known as “Bergen Dutch” who speak an English-Dutch patois.

    Dutch seem to have recessive genes. A Dutch man who marries an Italian woman will have a swarthy child like Van Zandt. Similar to South African “coloureds”. They look black to me.

    New Jersey has probably had the worst race riots in the US. Worse than SA on sale. Whites in New Jersey, mafia or no, are armed to the gills.

  56. anonymous[191] • Disclaimer says:

    This is two hours that I refuse to spend watching washed up “actors” putting on phony new yawk mobster accents using a gangster theme that was worn out by the 1970’s. Is anyone interested in this genre any more other than the over 60 crowd trying to relive their lost youth?

  57. @Denis

    As I said in the review, the fact that the film doesn’t take the politics into account is probably its main flaw. Turning Hoffa’s story into a mafia film rehash is an injustice. I didn’t think Scorsese’s depiction of Hoffa was defamatory, just massively oversimplified.

  58. @Skeptikal

    Thanks for your insights regarding the book! I may read it at some point.

  59. @utu

    Thanks! Yes, I saw that when it was new. I remember thinking it was good, but not great.

    • Replies: @Skeptikal
  60. annamaria says:
    @ricpic

    “a thoroughly DISINSPIRED film”
    — Agree. Cliche upon cliche upon cliche.

  61. @Jeff Stryker

    Whenever I see Joe Pesci beating up some guy 3 times his size it just isn’t believable.

    You’re overlooking the context. In GOODFELLAS, Pesci often kills guys by ambush.
    Also, he acts so psycho, there’s the sense that even if you beat him up, he is crazy enough to come after you with a bat or gun. (Who can forget Polanski as the psychopath with knife in CHINATOWN. Jake calls him a midget and pays a dear price.)
    In CASINO, he’s well-connected and people fear him for that reason. One-on-one, they could probably beat him up. But mess with him, and you gotta mess with his whole crew. So, most people just back down. But when his own gang gangs up on him, he is helpless.

    • Replies: @Alex
  62. @Dumbo

    Coppola already burned out in the 80s, his last film worth mentioning (and far from perfect) is his version of Dracula in the 90s. Woody Allen also died creatively in the 90s. Spielberg’s peak was also in the 80s. David Lynch’s last good film was “Mullholland Drive” in 2001, the recent Twin Peaks Return, despite some occasional interesting moments, was largely a fiasco

    Coppola burned in late 70s with APOCALYPSE NOW. He made some good movies in the 80s, but none came anywhere close to GODFATHER and APOCALYSE(or its first 1/3).
    Woody Allen always had ups and downs. He made one of his best in the 90s with MANHATTAN MURDER MYSTERY. BLUE JASMINE is one of his best. Spielberg’s peak was in the 90s with JURASSIC, SCHINDLER, and SAVING. He made his best work in 2001 with A.I. He never lost his film-making chops. Premise of WAR OF WORLDS is nonesenical, but its awesomely frightening.

    Lynch goes into hibernation for long periods, but it’s worth it. TWIN PEAKS RETURN is one of his major works.

    Will DePalma make one more great movie? His last truly great one, his greatest in fact, was CARLITO’S WAY. It had a Jewish villain, but Sean Penn played him to such perfection that he’s more than a bad guy. He’s a kind of hero-villain, loyal friends and backstabbing betrayer.

  63. ricpic says:
    @Trinity

    You’ve got Jews on the brain. Springsteen – steen – is definitely German/Dutch American and has their classic square-head look.

    • Replies: @Trinity
    , @Jeff Stryker
  64. @John Morgan

    “I suppose Scorsese can get away with such blatant misogyny”

    Does this guy write for Teen Vogue?

    “the film strongly implies that the mafia … were involved in Kennedy’s death, which risks sending the film over the cliff into conspiracy theory land.”

    Does this guy write for Newsweek?

  65. @Jeff Stryker

    “The URBAN COWBOY CONUNDRUM”

    John Travolta is obviously of Italian heritage whilst Debra Winger looks German-Jewish. Anglo-Irish, at least back in the late 70s when Urban Cowboy was shot in the Houston area, comprised the majority of the white population of Texas.

  66. I hope DeNiro gets a “bag of sh*t in his face”.

    Just on general principles. Won’t be seeing this movie, not for political reasons, it just doesn’t sound interesting. But a movie with DeNiro getting “a bag of sh*t in his face”? Now I’m watching!

  67. @Priss Factor

    “Coppola burned in late 70s with Apocalypse Now.”

    The Godfather (1972), The Conversation (1974), The Godfather Part II (1974), Apocalypse Now (1979). Yes indeed: the 1970s was a decade of artistic achievement for Coppola. The same can be said for William Friedkin: The French Connection (1971), The Exorcist (1973), Sorcerer (1977). When you include other American filmmakers like Robert Altman, Sidney Lumet, Sam Peckinpah, and Alan J. Pakula it’s easy to understand why the 1970s is considered a golden age for Hollywood films.

  68. Anonymous[589] • Disclaimer says:

    The IRISH man…all Italians??? NO credibility IF the taboo is not broken…the ROLE of Jewish BANKING mafia…overlords of crimes syndicates>>

  69. The same can be said for William Friedkin: The French Connection (1971), The Exorcist (1973), Sorcerer (1977). When you include other American filmmakers like Robert Altman, Sidney Lumet, Sam Peckinpah, and Alan J. Pakula it’s easy to understand why the 1970s is considered a golden age for Hollywood films.

    Friedkin had two whoppers with FRENCH CONNECTION and EXORCIST. SORCERER is impressive but misconceived. Unlike the original, all action, no character. Also, Friedkin’s best movie was in 1985 with TO LIVE AND DIE IN LA, his last great movie. Peckinpah started the 70s strong with BALLAD OF CABLE HOGUE, STRAW DOGS, and GETAWAY. PAT GARRETT is seriously flawed but one of his most important works. But things got worse as the decade progressed. Though hardly regarded even by his admirers, I think his movie, OSTERMAN WEEKEND(1983) is a kind of return to form. Peckinpah made his greatest work in 69 with THE WILD BUNCH. RIDE THE HIGH COUNTRY and MAJOR DUNDEE are also very impressive. Schlesinger also hit his peak in 69 with MIDNIGHT COWBOY. 70s were peak period for Lumet who made SERPICO and DOG DAY AFTERNOON. NETWORK is also highly regarded, but I never liked it. And yet, Lumet’s greatest work is from 1981: PRINCE OF THE CITY, a film sadly ignored by the public and all but forgotten today. But Lumet got recognition for VERDICT, 1982.
    Altman was on top of the world with either the public or critics with MASH, MCCABE & MRS MILLER, LONG GOOD FRIDAY, and NASHVILLE, but it was all downhill from there. So many directors who seemed promising in the early 70s petered out by mid-decade by either too much egotism, drugs, or self-indulgence. Boorman hit a homerun with DELIVERANCE but faltered with ZARDOZ(though I love it) and EXORCIST II, which he turned into Holy Grail story. He came back in the 80s with EXCALIBUR and HOPE AND GLORY.

    Except for THE GODFATHER movies, STRAW DOGS, MCCABE AND MRS MILLER, ONE FLEW OVER THE CUCKOO’S NEXT, MEAN STREETS, CHINATOWN, ERASERHEAD, HAROLD & MAUDE(and maybe LAST DETAIL), TAXI DRIVER, DELIVERANCE, and maybe PAT GARRETT — I’m not counting Kubrick’s CLOCKWORK and BARRY LYNDON as American — , were most of the landmark 70s films really better than movies of 60s, 80s, or 90s? I think not. What really mattered was they were the first of their kind and made a ‘difference’ at the time. Of course, one could argue that “70s American cinema” really began in 1967 with BONNIE & CLYDE, COOL HAND LUKE, IN COLD BLOOD, and THE GRADUATE.

    • Replies: @syonredux
  70. @SunBakedSuburb

    John Travolta is obviously of Italian heritage whilst Debra Winger looks German-Jewish.

    They work in the role though. There is such an easy quality about Travolta that he has a zeligish ability to meld into just about anything. At any rate, he was convincingly working class. And Winger had talent and could work in various modes. Also, she doesn’t look totally Jewish.
    Though many had problems with it, I found Pacino compelling in REVOLUTION.

    Brando isn’t Italian but played a great Don Corleone. Nearly as good was the German Joss Ackland as the mafia don in THE SICILIAN. Pacino played Will Dormer, hardly an Italian sounding name, but that was one of his best roles.

    • Replies: @Jeff Stryker
  71. ollie says:

    It’s a fine move, great to the part where it was a DeNiro ending, about 15 minutes long. It was a real buzzkill since in real life DeNiro is toolbag full of bullshit and TDS bullshit. I met him on the set of Mad Dog & Glory. I delivered equipment to the trailers. It was long ago and Deniro is the same now as he was then – a douche. Bill Murry was as nice as a person can be. But, DeNiro was a douche, stuck up and full of himslef. I can’t watch movies with him anymore. All I can see is him saying stupid shit about Trump. Looking back, his best scene ever was stomping on the face of the that guy in Goodfellas. He wasn’t talking.

  72. Skeptikal says:
    @John Morgan

    Hi, John:

    Do read the book. It is a good read.
    In the meantime, do a Google “images” search for Frank Sheeran.
    You will see that Sheeran was a big blond hunk with a wavy fifties hair style and a strong jaw, no existential angst in his facial expression, like De Niro permanently wears.

    In fact, De Niro looks nothing like Sheeran. Pacino looks nothing like Hoffa.
    Who did the casting here? Someone has suggested that De Caprio might have worked better (blond) but he has kind of a baby face and Sheeran had a big lantern jaw and a big smile. A bulked-up younger Kirk Douglas might have worked in the role, except probably Douglas wasn’t tall enough.

    Not to forget, Sheeran himself was a loyal and proud member of the Teamsters.
    Not to forget, too, that Charles Brandt is a former prosecutor and Chief Deputy Attorney General of the State of Delaware. His professional qualifications to expand upon the life and times of both Hoffa and Sheeran seem to be regularly downgraded by those who want to discredit his book.

    It annoys me to think that most viewers of the film will never read the (much better, I am sure) book, and Sheeran will wear De Niro’s craggy angst-ridden face forever. In the film stills De Niro actually looks like some kind of slick NYC lawyer. Is he ever shown wearing the fifties “leisure” jackets and open collar that Sheeran relaxed in (see photos, also in the book).

    I look forward to hearing your re-analysis of the film after you have read the book.
    Doing so will only take a couple of days because you will not be able to put it down.
    75% of Amazon readers (1,287 ratings) give the book 5 stars and many pronounce it compulsively readable. Another 18% give it 4 stars:

    • Replies: @Rurik
    , @Dave Bowman
  73. Trinity says:
    @ricpic

    As “utu” already pointed out, Springsteen is “Jew-ish.” The cuck might as well be named SpringSTEIN. Brucie might not be a Jew but he is definitely Jew-ISH. lololol. Hell, how many Jews were/are in his band? And that bandana wearing freak, Stevie whatever-his-name, is even more anti-White than Brucie. So I don’t care what either one of these pieces of white traitor trash claims their ancestry to be, or whether they are German/Dutch, Italian, Irish, whatever, they are a disgrace to their race and ethnicity and are to be mocked instead of celebrated. You couldn’t pay me to see Bruce Springsteen aka Bruce SpringSTEIN perform live, much less pay out of my own pocket to hear the sellout perform. Admittedly he is a talented performer but his “CUCKOLDERY” is disgraceful and downright embarrassing to even witness from the outside looking in.

    • Replies: @Dave Bowman
  74. Flubber says:
    @Hibernian

    “This review doesn’t even touch on the electronic de-aging process ”

    It doesn’t work. The faces look rubbery and they cant fix the body language. De Niro is so old his shoulders are hunched over and they cant and do even try to fix that.

    Doesn’t hugely affect the film though.

  75. syonredux says:
    @Priss Factor

    I’m not counting Kubrick’s CLOCKWORK and BARRY LYNDON as American —

    I do. Kubrick is a deeply American film-maker. Regardless of the subject, he brings America with him.

    • Replies: @Priss Factor
  76. Z-man says:

    Again boys and girls, this is classic deflection by the clever Jews that control the media. Again see the article by Kevin MacDonald ‘Is It “anti-Semitic” to Say There Is War on Christmas?’, right here on this site).
    When one thinks of mobsters one thinks of the Italian while the Jew mobsters, especially the extremely vicious modern Russian Jew variety* gets a pass thanks to their fellow tribesmen in the media and government who deflect attention from them and on to the Italians.
    Again this is an ancient hatred as the Romans successfully destroyed Jerusalem, its Temple and almost completely wiped out the Jew race. The Jews will never forget that and the Italians pay the price.

    * A member of the John Gotti gang in New York was recorded with a wiretap warning an acquaintance:
    We Italians will kill you. But the Russians are crazy — they’ll kill your whole family.
    This view also is shared by policemen who have had to deal with the Jews. A New York City policeman told Friedman:
    The Russians are ruthless and crazy. It’s a bad combination. They’ll shoot you just to see if their gun works. Taken from Jew Watch

    • Replies: @Trinity
  77. @syonredux

    I do. Kubrick is a deeply American film-maker. Regardless of the subject, he brings America with him.

    True of THE KILLING and DR. STRANGELOVE. And yes, Kubrick was an American director despite his residence in UK.

    But 2001 and CLOCKWORK owe more to European cinema than American.
    And BARRY LYNDON stood apart from what the American auteurs were doing first half of 70s. New Hollywood was moving more toward naturalism/realism, toward greater immediacy and/or intimacy, whereas Kubrick was moving more toward formalism. So, even if though it’s fair to say CLOCKWORK and BARRY are works of an American artist, they were not part of the New Hollywood ‘movement’. They stood apart.

    • Replies: @utu
    , @syonredux
  78. This review is fair.

    Personally I thought the movie was terrible. DeNiro, Pacino, Romano, Keitel are all terribly miscast. Pesci is the only one who is believable. The other 4 are just playing their standard, mail-it-in character. Pacino is remarkably bad. He plays the same exact role he’s been doing since Scent of a Woman: Loud, bombastic, wide eyed, and manic. Compare to Nicholson’s version, who nails the Midwestern, higher pitched accent almost perfectly, as well as the tireless, energetic and charismatic man that Hoffa was. (It’s interesting that Sheeran is not shown at all in Hoffa; seeing that he was supposedly Hoffa’s bodyguard for some time. I am a teamster in Chicago, been in transportation here for 17 years. The old timers who’ve been around knew about Sheeran. He wasn’t a hit man, he was a drunk, and his access to Hoffa is considerably overstated in the his biography. But being an outer circle drunkard doesn’t sell books.)
    DeNiro is just bad. He looks nothing like a 6’4″ Irish goon, and I say that as a 6’4″ Irish goon. he looks to be barely able to walk. His daughter’s significance in this movie is out of place, and awkward. First, she looks closer to Chinese than she does Irish. It’s distracting when you’re supposed to be watching an ethnically driven period piece.

    Scorsese otherwise puts together a competent film. Great sets, historically accurate and detailed, and great continuous shots. It would have had a better movie had he cast younger leads. Pacino, DeNiro, etc. could have made some well placed cameos throughout the film for some nostalgia. Sure, it may not have done as well at the BO, but at his age should a few million more bucks really be the driving force? How about you make a good movie instead of hosting a casting reunion?

  79. Trinity says:
    @Z-man

    WHY do people keep referring to a bunch of Jewish mobsters from Russia as “the Russians” in the first place? Even a member of the Gotti gang was too politically correct to call a spade a spade? Good googly a moogly, this world is bat shit crazy.

    Just like we call the biggest mafia out there, “the globalists.” smdh. The Italian mafia has always been small potatoes compared to the Jewish mobsters like Meyer Lansky and company. The ONLY PEOPLE who don’t know any of this in 2019 are people who are gullible and naive beyond belief, the WILLFULLY ignorant, or those too damn lazy to do a minute or two of research. There is ABSOLUTELY NO EXCUSE for anyone not to know the truth. These Hellywood movies should be MOCKED and RIDICULED.

    Any white man or woman who isn’t “woke” to the JQ by now isn’t likely ever going to wake up and smell the coffee.

    • Agree: Z-man
  80. utu says:
    @Priss Factor

    …whereas Kubrick was moving more toward formalism…

    IMO Kubrick in Barry Lyndon was influenced by Terrence Malick’s Badlands.

    • Replies: @Priss Factor
  81. Now, this guy is a total idiot.

    • Replies: @Z-man
  82. @utu

    I can see DAYS OF HEAVEN being influenced by BARRY LYNDON, but BADLANDS influence BARRY LYNDON?

    Kubrick’s style is closer to Ophuls and Mizoguchi(in his more stylized works). And Resnais of MARIENBAD. Fellini’s 8 1/2 was a huge inspiration for many directors. Jancso’s style anticipated later Kubrick. Oddly enough, ZARDOZ, released year before BARRY LYNDON, has a similar feel. Both films are about rogues or primitives who enter the Zone.

    • Replies: @utu
  83. @ricpic

    Bruce Springsteen isn’t German. His name is not German. Both he and Sylvio from Sopranos (Van Zandt) are the sons of so-called Bergen Dutch, a specific community New Jersey community of Dutch speakers.

    • Replies: @Zumbuddi
  84. @SunBakedSuburb

    Actually, in the film John Travolta was supposed to be part Native American from the local Cherokee tribe. In the job interview with the rig foreman he mentions being registered Cherokee.

    It was a case of an Italian playing a Native American or part Native American.

    Scott Glenn, whose father is Scottish-born, was the only actor in that film who seemed right for his role as Wesley.

  85. @Priss Factor

    During the Urban Cowboy job interview, Travolta tells the foreman he is registered Cherokee through his Cherokee grandmother.

    Deborah Winger looks totally Jewish. She supposed to be Polish-Catholic in an OFFICER AND A GENTLEMAN but she still looked too Jewish for the role.

    One thing about URBAN COWBOY was that Scott Glenn seemed incredibly authentic in the role of Wesley the ex con. Scott Glenn’s grandparents were born in Scotland.

    • Replies: @Z-man
  86. Anon[156] • Disclaimer says:

    Buncha violence in the movies.
    I won’t say another word.

  87. Is IRISHMAN supposed to be like LITTLE BIG MAN? Mix of history and tall tales?

    • Agree: Hibernian
    • Replies: @John Morgan
  88. Dumbo says:
    @Priss Factor

    Allen always had ups and downs, but since 1997 much, much more downs than ups. I haven’t seen Blue Jasmine, I got tired of him much earlier than that.

    Re: Spielberg, maybe. Yes Jurassic Park, Saving Ryan and Schindler (which I don’t like that much, same screenwriter as The Irishman, btw), are probably his peak, and he still can direct well I suppose. But A.I., War of the Worlds and Minority Report were unconvincing to me, interesting concept but faulty execution, would not watch again.

    Lynch, I don’t know. Twin Peaks Return one of his major works, really? To me it seemed almost nonsensical, as if he was pulling the viewer’s legs. There were some nice things, the nuclear bomb episode, the catatonic Cooper (though that lasted way too long), the bad Cooper, but the ending was hugely disappointing (to me, and I think to most people). The special effects were cheesy, I think on purpose. Also some shots were kept on and on, apparently also on purpose (a guy sweeping the floor, another guy painting shovels) just to lengthen the episodes. Plus Audrey’s very few scenes were unexplained and unrelated to the main story.

    • Replies: @Priss Factor
  89. Z-man says:
    @Priss Factor

    LOL!! He definetly lost me with the rankings (I mean Casino ahead of Goodfellas?) but he was very good with his quirky commentary and reviews.

  90. Z-man says:
    @Jeff Stryker

    I never liked Deborah Winger, I wonder why. (Wry grin)

    • Replies: @Trinity
  91. Anonymous[156] • Disclaimer says:

    No. No. No.

  92. Anon5000 says:
    @Denis

    Having seen all of them, the Irishman isn’t even in the same universe artistically as Godfather I and II or Goodfellas. Or Casino for that matter. This is a decent review but Burns is a bit over-kind to the movie in not coming out and calling it mediocre, which it is. The set design, acting, and historical events depicted are just interesting enough to keep the movie mildly entertaining but it’s basically a paint by numbers exercise that is a bit of a slog. Geriatric (like the actors and directors) and derivative.

    Burns does put his finger on the biggest disappointment here which is the refusal to grapple with Hoffa as the fascinating historical figure he was and instead just grind out a standard mob flick. He’s also right to point to the 1992 Nicholson flick which for all its flaws was a far better movie than this one because it centered Hoffa as a labor leader. At a time when the American political and economic system are paying a heavy price due to the failure to develop a durable and successful labor movement you would think there would be more interest in who Hoffa really was instead of just using him as an excuse to show an 80 year old Robert DeNiro pretend to “beat up” a shopkeeper.

    This movie really made Scorsese seem played out and out of ideas which is weird since it wasn’t so long ago he did the great and underrated “Silence”

  93. @Priss Factor

    If so there’s absolutely no suggestion of that in the film itself, which seems to want to be taken literally. There’s no hint of the postmodern in it.

    • Replies: @Priss Factor
  94. Trinity says:
    @Z-man

    When I think of Winger, I always think of two movies, “Betrayed,” and of course, “An Officer And A Gentlemen.” “Betrayed” with Tom Berenger is a little known movie about a group of “White supremacists” who are infiltrated by the FBI character portrayed by Winger. “Betrayed” hit theaters in the late 1980’s and was the stereotypical anti-White type of film that we have grown accustomed to seeing for decades. The Whites in the movie lived in a rural area, were portrayed as being less intelligent, and there is a scene where they capture and hunt down a black male for sport. The beginning of the movie shows a couple of these “White supremacist” troglodyte-like characters taking down an obnoxious Jewish radio talk show host so I guess this was film was loosely based on the real life event involving the killing of one, Alan Berg, and the group at that time called, “The Order.” Typical Hollywood REEL life script that starts off with the Jewish radio talk show host using his superior Jewish intellect trolling his listening audience full of Hollywood’s version of “rednecks,” ignorant white folks, the typical MANUFACTURED piece of propaganda for movie goers to learn how”racist” and “anti-Semitic” the redneck goyim are and how easily they are exposed by the intellectually and morally superior Jewish talk show host. Of course you also had your token intellectually and morally superior black FBI agent hero to help take down the bunch of rag tag redneck “White supremacist” gang in this flick as well. IF you can stomach the typical racist anti-White stereotypes and get past the usual inverse of real life vs reel life, not a bad film.

  95. @John Burns, Gettysburg Partisan

    Thanks for writing this comment so I didn’t have to.

  96. Rurik says:
    @Skeptikal

    no existential angst in his facial expression, like De Niro permanently wears.

    Since you’ve studied the issue..

    Is there any evidence that Sheeran actually killed Hoffa? Other than innuendo.

    Why do both movies (The Irishman and Hoffa) show Hoffa with a constant companion, only it’s two different people?

    How has it worked out long term for the members of the Teamsters losing Hoffa, with the Teamster’s Union’s alleged ties to the mob? In hindsight, did the Mob loot the pensions? Or was that all just more innuendo?

    • Replies: @Skeptikal
  97. Skeptikal says:
    @Rurik

    @Skeptikal

    ” no existential angst in his facial expression, like De Niro permanently wears.”

    Since you’ve studied the issue..”

    Huh?
    Total non sequitur.
    What is your beef? What argument are you trying to pick with me?
    Or with history?? I can’t help you there.

    Whatever it is, go back and read the posts in which I described the *book* I read.

    • Replies: @Rurik
  98. The movie should have been about 75 minutes long.

    I found that last two thirds of it boring as hell and, of course, it is no surprise that Hollywood regularly cranks out these Italian Mobs movies because the Jewish Mobsters were at least at crooked and bloody but the Italians don’t own Hollywood.

    • Agree: Z-man
    • Replies: @Iris
  99. Alex says:
    @Priss Factor

    A small vicious guy who has already done prison time will take down a much bigger guy easily if he has the will to win. It’s that simple, a guy who weighs lbs140 can kick your knees out before you even realize he’s come after you. You want to get home to your family, he wants to win, whatever the cost. It’s called the psychopathic mindset.

  100. Trinity says:
    @Alex

    haha. Sure. Sounds like a MYTH that little guys who are ex-convicts like to spread around. Next thing you know, some guy with big feet and/or hands will say that big hands equals having a big penis. smdh. The bigger they are the bigger the beating is USUALLY the case more often than not. While being big doesn’t necessarily make you a good fighter, it surely helps more than it hurts, conversely being a small psychopathic ex-convict isn’t much of an advantage if any advantage at all. Fighting with homemade knifes doesn’t make you handy or fit for fighting with your body only. If being a small, vicious, psychopathic guy who has done prison time made you formidable in a physical fight than Charles Manson could have beaten up Muhammad Ali. smdh and lol. A guy claiming to be tough because he has done time in prison is the equivalent of guys saying they are tough because they grew up in such and such area and/or town. One hard punch or throwing the “little psychopath” into a wall and suddenly the “psychopath” turns into a reasonable, normal, level headed person is the guess here.

    • Replies: @Jeff Stryker
  101. Rurik says:
    @Skeptikal

    Total non sequitur.

    yes it was, the quote was simply an homage to your insightful characterization of De Nero’s morose mug.

    What is your beef? What argument are you trying to pick with me?

    None. I’m not.

    Or with history?? I can’t help you there.

    OK. A thousand pardons.

    I was simply asking some simple questions about Hoffa that I assumed you knew the answers to, without having to do the research. That’s all dude.

    I’m not that interested, that I’d read the book, but if I/we could have been edified by the knowledge already in your possession, without having to plod though a book to get it, then we’d all benefit, no?

    (such touchiness)

    • Replies: @Skeptikal
  102. John Morgan is too kind. “The Irishman” is a three & one half hour long Saturday Night Live skit. Entertaining, not significant.

    Scorsese is a 99% extinct volcano, with fumarole’s occasionally belching out acidic critiques of inferior work, like the takedown of Marvel
    .
    Still interesting, but Scorsese hasn’t created anything really new or different in many years.

  103. @Commentator Mike

    That’s what I was thinking; what self-respecting Irishman would commit crimes for the British Empire?

  104. @Priss Factor

    There’s no business like Shoah Business.

  105. Long time coming slow mo flick.An expired shelf life theme with dusty old buggers.The bar for playing Hoffa is Jack Nickolson.Al Pacino was playing Al Pacino in the movie.The DeNiro character, Frank was doing his paint work like in a vacuum sealed world of its own.What else is new.

  106. utu says:
    @Priss Factor

    Certainly Jancso anticipated and possibly influenced Terrence Malick and Kubrick.

  107. @John Morgan

    If so there’s absolutely no suggestion of that in the film itself, which seems to want to be taken literally. There’s no hint of the postmodern in it.

    LITTLE BIG MAN isn’t postmodern though. Jack Crabbe belongs to a long line of unreliable narrators in fiction. Still, even though we don’t believe everything he says, we sense truth in his emotions and the overall arch of the story.

    Is IRISHMAN like a bigger version of the 1 hr that Scorsese directed for BOARDWALK EMPIRE? That was good stuff.

    • Replies: @Dumbo
  108. @Dumbo

    Allen always had ups and downs, but since 1997 much, much more downs than ups. I haven’t seen Blue Jasmine, I got tired of him much earlier than that.

    I don’t look forward to his next movies as most of them aren’t much. I check them out when there’s a buzz about them, and BLUE JASMINE is one of his best. I also liked CAFE SOCIETY. Thin but nice. Also, like CRIMES AND MISDEMEANORS, it’s a look at two sides of Jewish Power. The mind and the muscle, the smile and the teeth.
    I also liked ANYTHING ELSE as one of the few films where Allen let the mask slip and revealed what an angry and bitter man he is.

    Spielberg, maybe. Yes Jurassic Park, Saving Ryan and Schindler (which I don’t like that much, same screenwriter as The Irishman, btw), are probably his peak, and he still can direct well I suppose.

    JURASSIC is top-notch Spielberg. Wonder and Terror. RYAN and SCHINDLER score big with action/violence but fail as drama. In terms of character and story, RYAN is a series of Norman Rockwell paintings, and SCHINDLER is IT’S A WONDERFUL HOLOCAUST. Still, what a master with action/violence.

    But A.I., War of the Worlds and Minority Report were unconvincing to me, interesting concept but faulty execution, would not watch again.

    MINORITY REPORT is overwrought and too hyperbolic for a brainy sci-fi. Still, whoever worked on the script came up with clever twists, and when Spielberg doesn’t push too hard, it’s works great.
    WAR OF THE WORLDS is ludicrous because the space aliens… emerge from the ground. What? Still, it’s a creepy moment, watching them buggers crawl out of the ground. It works as anti-CLOSE-ENCOUNTERS. Roy in CE is a man with a dream who chases after space aliens. Cruise’s character is a man running from the nightmare from outerspace. If you think about it, it falls apart. But what awesome effects.
    Many are divided on A.I., and the idea of Spielberg finishing a Kubrick project does sound weird. But I thought Spielbergisms complemented than canceled Kubrick’s dark vision.

    Lynch, I don’t know. Twin Peaks Return one of his major works, really? To me it seemed almost nonsensical, as if he was pulling the viewer’s legs.

    Like too many TV stuff, it is too long. I would have preferred if it lost a third or even half. And some of the stuff seems nonsensical. Still, if anyone could take OUTER LIMITS material and turn it into real art, it’s Lynch and no other.

    • Replies: @Dumbo
    , @syonredux
  109. @Trinity

    Charles Manson loved jail. He had an easy time there and even convinced some of the black pimps to coach him in attracting women for the harem he desired upon his release. Most small white men are endlessly raped in prison until they contract AIDS-there is an article on American Renaissance about this.

    But Charles Manson was, in the words of Bugliosi himself, a 1 in 1000 of 1 percent with that overpowering charisma.

    However, Manson did beat up much bigger guys. Among them Dennis Wilson, when he felt Wilson was wasted his time with the record deal. And he disarmed a black drug dealer and shot him.

    Wiseguys like Joe Pesci have an easy time in the East Coast prisons. Or did in the seventies. They bought prison guards and wardens and bribed other prison gangs with drugs. It is unlikely that Pesci was fighting off random prison rapes in the shower.

    • Replies: @Trinity
  110. @Alex

    One bouncer with a scar who co-owned my bar in the Philippines remarked “you never know what little guys are going to do”. Pesci’s characters tend to use the surprise element like he did with the pen in the bar in Casino and do as much damage as they can as quickly as possible.

    The believable tough Italian-American actors were not Pesci or De Niro. I’d say Robert Forster, from Alligator and Jackie Brown and Delta Force was believably tough in his mafia roles (The Don is Dead). Joe Spinell, who played MANIAC and the loan shark in the ROCKY films, was believably tough.

    Tony Sirico was believably tough in the seventies when he was young (Watch FINGERS or ONE MAN JURY) but by 1998 when the Sopranos aired he was already 56 years old.

    Henry Silva was not physically imposing, but seemed like the most unhinged of them. He was effective in SHARKY’S MACHINE.

  111. Iris says:
    @Mick Jagger gathers no mosque

    Hollywood regularly cranks out these Italian Mobs movies because the Jewish Mobsters were at least at crooked and bloody but the Italians don’t own Hollywood.

    Agree.

    There is also more serious political stakes at play: for instance, while it is extremely likely that President Kennedy got murdered by hired guns from the Italian Chicago mob, there is no doubt that this faction of organised crime was subservient and under control of the more powerful Jewish mob. The reason is financial firepower: thanks to tribal acquaintances, Jewish mob had the power to money-launder the proceeds of crime.

    Jewish mob’s control over President Kennedy’s assassins sheds a crude and significant light upon who really commissioned his murder.

    Despite his outstanding talent, Scorsese is very disappointing as in he always carefully avoids any pertinent and deep analysis of America’s culture and history, and even perpetuate the lies, unlike a less talented but more courageous director such as Oliver Stone.

    Scorsese’s artistic legacy will ultimately be greatly diminished by his intellectual timorousness.

    • Replies: @Jeff Stryker
  112. Dumbo says:
    @Priss Factor

    There is something to that as we don’t know to whom old Sheeran is telling his story in the movie. In fact, if you look at the initial tracking shot, there is no one in front of him, so he is talking just to the audience (or to himself, or it’s his imagination). And the frame inside a frame narration device also seem to indicate an unreliable narrator whose memory is faulty, or who’s not telling the whole truth.

  113. Dumbo says:
    @Priss Factor

    Yes, the problem of many TV series, even good ones such as Breaking Bad, is that they get extended much more than dramatically needed, for commercial reasons. Twin Peaks Return had some moments of brilliance, the frog/nuke episode had great imagery, but it could have benefitted of being shorter and more to the point. I liked the adult Sarah Palmer too. But in general the series lost the fun aspect of the first Twin Peaks, which was interesting exactly because its mix of silly soap opera and weirdness (just the first and a half season though. The rest after Lynch left was just plain silly).

  114. Not even in Scorsese’s top ten films! But the gangster growing old alone is a new and interesting angle.

  115. @Iris

    You’ve got it backwards. Sam Giancana used a cheap Jewish hoodlum named Jack Ruby who owned a mob-protected strip club to silence Oswald.

    Oswald’s ties to the mob were very low-level. His aunt was married to a bookmaker named Charles Murret who employed Oswald as a runner in his gambling parlor that was protected by New Orleans boss Carlo Marcello.

    Which is not to say that Jewish mobsters do not exist. But Kennedy’s assassination was the result of a feud between Kennedy and Giancana.

    • Replies: @Iris
    , @Skeptikal
    , @Dave Bowman
  116. Iris says:
    @Jeff Stryker

    But Kennedy’s assassination was the result of a feud between Kennedy and Giancana.

    If that were really the case, the truth about the Kennedy assassination would have come out long ago, instead of the implacable institutional cover-up we witness to the day.

    You need to do more research in the Kennedy assassination, beyond the superficial “official” information, if you want to bring anything useful to the discussion.

    President Kennedy was shot by a team of 4 hired hitmen, affiliated to the Chicago mob and whose boss was indeed Sam Giancana. Their names were Charles Nicoletti, James Files, Johnny Roselli and Marshall Caifano.

    However, Giancana was himself subordinated to Jewish mobsters Meyer Lansky and Bugsy Siegel, who were the undisputable, central money-laundrers of American mob. And the meta-organisation of the JFK assassination was entirely devised by Dallas’ Hebraic business community.

    You have your US power hierarchical scale the wrong way around.

    • Replies: @Jeff Stryker
  117. @Iris

    Siegel was dead in 1947. Probably at the orders of the New York mafia, not the Chicago outfit.

    • Replies: @Iris
  118. Trinity says:

    Why would someone like Scorsese a man of Italian descent keep glorifying mobsters?? Like other posters have noted, myself included, the Italian mafia isn’t what it used to be and it was always insignificant when compared to the INTERNATIONAL JEWISH MAFIA.

    Scorsese is behaving like a good little goy by continually pushing out films about Irish or Italian gangsters for decades and counting. Just as you see NO films about the Holodomor ( I think one actually came out a few years ago but you can bet the Jewish role was completely left out) all we ever see with these mob films are a bunch of stereotypical guidos speaking with Brooklyneese accents while “whacking” anyone who get out of line.

    If I can remember correctly, I think Dr. David Duke was talking about some Hymiewood production about the “Russian Mafia” on his show awhile back. Dr. Duke described a scene which showed the gangster goons sitting in a steam room and some of the mobsters were wearing the Christian Cross around their necks. Talk about “Jewing” down the truth. How many actual Russians do you think are part of the Kosher Nostra? Probably a token here and there if that. As noted the biggest organized criminal gang in the world, the so-called, “globalists” or “the deep state” make these relatively insignificant Italian mafia groups of yesteryear look like choir boys.

    • Agree: Beefcake the Mighty
  119. Iris says:
    @Jeff Stryker

    You are missing the point.

    Lansky and Siegel’s influence goes far beyond New York or Chicago.
    In 1929, they had organised, with Lucky Luciano, the congress of all East Coast mob leaders: Al Capone who became the master of Chicago, Louis Buchalter and his lieutenant Jack Diamond for New-York, Bernstein for Detroit and Hoff Rosen for Philadelphia. They then set the “National Crime Syndicate” which would be nicknamed the “Murder Incorporation” a few years later.

    Meyer Lansky understood that the key to justifying profits from illicit activities lied in money laundering. His” genius” was to involve mafia money in legal businesses and even in financial institutions managed by his tribal brethren .

    He then became the central architect of the organized crime conglomerate in the United States. While his friend Bugsy Siegel created Las Vegas with Benny Binian, Meyer Lansky tried to buy an entire country: Cuba. He became the central figure of drug trafficking, an activity always linked to intelligence services, and lived for 2 years in Israel. The FBI never got hold of his reputed US$ 300 million fortune, so his financial schemes must have been quite efficient.

    While the Italian mob is continuously paraded in vacuous Hollywood films, such display does not reflect the reality of power within US organised crime.

    Jewish mafia always had the upper hand over Italian mafia because of its connections in the legal financial industry. The borrower is subordinated to his lender, not the other way around.

    • Replies: @Z-man
  120. Trinity says:
    @Jeff Stryker

    I read a book years back written by an ex-convict who had done some time with Manson. I believe the guy’s name was Nuel Emmons and the book was titled, “Manson : In His Own Words.” Would have to do a search to make sure I have that one right. Anyhow if my memory serves me right, Emmons describes how Manson was in fact sexually abused in some type of youth home or reformatory when he was young.

    I have read a few books on Manson and he was attacked on more than one occasion by other inmates. He was of course held in security housing or protective custody for most of his time after the Tate murders but nothing is totally secure in a prison. One inmate burned Charlie ( heard that Charlie had to have his infamous Swastika tattoo redone by another inmate after being burned) and another inmate, a member of the Aryan Brotherhood had allegedly attacked and beaten up Manson in altercation on a prison yard.

    Being a made man or a big shot mafia don doesn’t always guarantee that you will be safe in prison from gangs of roving nonwhites and even fellow whites. Gotti was attacked and beaten up by a black inmate while serving time at Marion and even resorted to trying to make a deal with the Aryan Brotherhood for protection.

    Florida prisons from what I have read are horrific, of course any prison is not a trip to Disney World, but some states are probably a little bit more comfortable and humane. I have heard and read about a lot of horrific stories concerning prisons in Florida, Texas and Alabama in particular, especially for white inmates. Someone needs to definitely clean up not only our judicial system but the prison system as well. Prisoners need and should be separated by their race. Would cure a lot of problems for sure.

  121. Zumbuddi says:
    @Jeff Stryker

    According to his own comments, Springsteen’s father was Irish, his mother is Italian.
    He says his Irish grandparents were his babysitters while parents worked
    They kept very lax discipline and hours — 3 year old Bruce frequently went to sleep at w am and slept til noon. Puts your internal clock out of whack.

    His pal Stevie”s Italian father left the family, he was raised by a stepfather whose name he took.

    Max Weinberg is prolly Jewish, very talented drummer. I think he contributed more to E Street sound than Bruce.

    The Black members of E Street also very talented — Jake Clemons on sax was phenomenal. RIP.

    Not unexpected that Springsteen had a lot of Jewish connections since in that generation Jews & Italians were on similar plane, & Asbury Park had large Jewish presence.
    Just a hunch — Bruce married 1st wife & moved to CA on advice of Jewish manager.
    Then he followed his heart, married Patty Scialfo & moved back to his roots in NJ.

    • Replies: @Skeptikal
  122. Z-man says:
    @Iris

    Meyer Lansky tried to buy an entire country: Cuba.

    Hyman Roth in ‘Godfather II’ is based on the real kike.

    Bugsy Siegel created Las Vegas

    The Moe Greene character in ‘The Godfather’ is based on Bugsy. Funny an Italian, Alex Rocco, plays him.

    While the Italian mob is continuously paraded in vacuous Hollywood films, such display does not reflect the reality of power within US organized crime.
    Jewish mafia always had the upper hand over Italian mafia because of its connections in the legal financial industry. The borrower is subordinated to his lender, not the other way around.

    Couldn’t have said it better myself and bears repeating.

    Just one minor correction; It’s “Murder Incorporated” Sorry, it’s my obsessive compulsive disorder kicking in. (Big Grin)

    • Thanks: Iris
    • Replies: @Iris
  123. Jimmy1969 says:

    Stick to Politics Morgan; you are no film or literary critic. You sound like a jealous little punk on TMZ who always wanted to work in Hollywood but failed.

  124. Iris says:
    @Z-man

    For clarity, these are not just my personal opinions.

    Jewish author Jacques Attali, one of France’s most powerful shadow kingmakers, proudly evoked Meyer Lansky in his 2002 book “Les Juifs, le monde et l’argent” which central thesis is that, contrary to Max Weber’s hypothesis, capitalism was invented by Jews, not by Protestants.

    Attali boasted about the power of Jewish mafia in the US and stated that Meyer Lansky became:

    an associate to Italian Mafia, enabling Lucky Luciano to take control over Cosa Nostra, before becoming himself the master of American mafia.

    https://www.denistouret.fr/ideologues/Attali.html

    • Thanks: Z-man
    • Replies: @annamaria
  125. Kim says:
    @Alex

    Kicking out someone’s knees in a self defense sitation is a 1970s self defense myth. Even in MMA, highly trained athletes are not able to pull it off. And in 40 years of study and interest, I have never seen it done.

    If you want to win a stand-up fight, barehanded, you have to provide a high volume of hard attacks to the head and face. That is where most of the nerve endings and KO points are. And get in first.

  126. “Leave the gun, take the cannoli”

    • Replies: @Negrolphin Pool
  127. Skeptikal says:
    @Rurik

    I cannot recap the book for you. I read it about 5 years ago.

  128. Skeptikal says:
    @Jeff Stryker

    “But Kennedy’s assassination was the result of a feud between Kennedy and Giancana.”

    No, it was not.

    • Replies: @Jeff Stryker
  129. Skeptikal says:
    @Zumbuddi

    I thought it was Clarence Clemons.

    • Replies: @Zumbuddi
  130. @Skeptikal

    Really. Why did Jews want to do Kennedy in? After all Irish-Catholics on the East Coast have always been the auxiliary to the Jewish Democratic Nationalist Party.

    Which Jewish mobster was Kennedy after? He was after Giancana. He was after Hoffa. Neither Jews.

    So which Jew wanted Kennedy dead and why?

    • Replies: @Iris
  131. @I do want to live forever.

    That has my vote for the most iconic scene in American cinema.

  132. Iris says:
    @Jeff Stryker

    So which Jew wanted Kennedy dead and why?

    The people who played a central role in President Kennedy’s assassination are those who controlled the real “sniper nest” from where he was shot, which was in the lowest floors of the Dal-Tex building (and not in the Dallas School Book Depositery).

    The Dal-Tex building was controlled by people called David Weisblat, major ADL funder, Maurice Jaffe, a close LBJ business associate, Sam Bloom, an influential member of the Dallas Citizen Council who played a key role in defining the motorcade’s route, Morty Freedman, Sam Bloom’s brother-in-law whose company the “Dallas Uranium and Oil Company” helped Israel acquiring weapons.

    The filming of the tragedy was made by Abraham Zapruder, a high-ranking mason whose offices were based in the Dal-Tex, after the journalists coach which usually preceded the presidential limousine was strangely dismissed on that occasion.

    All these people were eminent members of the Dallas Hebraic business community, and ardent Israel supporters.

    When Lee Harvey Oswald, the designated patsy who should never have made it alive to the police headquarters, managed to survive by fleeing to a public theatre and deliberately quarrelling with the attendant, another member of the Hebraic community, Jacob Rubinstein, was tasked with executing him.
    In his own words to his Rabbi, Ruby killed LHO for the Jewish people“.

    So, the circumstances of the JFK assassination, when carefully studied, indicate an overwhelming responsibility of Hebraic people who were militant Zionists actively committed in supporting Israel.

    Why did they kill the President is another matter; one of the most interesting and convincing thesis is JFK’s intent to stop Israel from acquiring nuclear weapons.

    Please read the excellent articles by Ron Unz and Laurent Guyenot on the topic:

    https://www.unz.com/runz/american-pravda-the-jfk-assassination-part-ii-who-did-it/

    https://www.unz.com/article/did-israel-kill-the-kennedies/

  133. @Priss Factor

    “…And Jews don’t denounce Latin American whites despite their genocide and slave trade.
    …And Jews forged an alliance with Latin whites who rag about gringo.
    So, on some level, Jews regard Latins as allies or partners, whereas the Northern Europeans are seen as the Eternal Enemy and Necessary Slave. ”
    Some people forget that the Portuguese Jews for a long time held rights to the Asiento, the contract for the Atlantic slave trade to Spanish America’s colonies. Many of the Jews involved moved to the Netherlands, as the Protestants there and to the east and south were welcoming to money, and similarly not tolerated by Catholic Europe. The slave trade was mainly valuable to the Caribbean; most slaves introduced there for sugarcane plantations died due to Yellow Fever, and had to be replaced annually. The Jews worked closely with the Latin Americans and developed close relations with the slave owners (Alexander Hamilton came out of this background, as did many wealthy Americans and Latin Americans. Haiti was the richest country in the western hemisphere due to slave plantations at the time. The largest number of slaves to any country went to Brazil, the Portuguese colony. The US was a small aside. Northern Africa had its own slave traders who enslaved as many Europeans, mostly for ransoms, but there is evidence of interbreeding of these European slaves from the 1600s-1800s).
    The Statue of Liberty was a gift from France to celebrate the end of slavery with the 14th Amendment in 1868. Emma Lazarus was asked to write a poem for the statue, but she originally refused. She was from a Jewish family which had made their money from slavery and the sugar trade, and it seemed hypocritical for her to write anything celebrating the end of slavery. Instead she wrote “The New Colossus” (“…Give me your tired, your poor, Your huddled masses yearning to breathe free…”), which was more in keeping with her pet project, helping Jewish immigrants from Eastern Europe. A plaque with her poem was affixed to the Statue of Liberty twenty years later, and the cultural misappropriation (from celebrating the freeing of slaves to welcoming immigrants) was complete.

  134. Zumbuddi says:
    @Skeptikal

    You’re right. My mistake.
    Jake Clemons is nephew of Clarence.
    Jake took his place with E Street.

  135. jsigur says:
    @Hail

    But like every other area, the Jewish component in the mafia world is rarely if ever focused on and if one gets made, censored to the point that the movie makes little sense to the audience (initial release of “once Upon a Time in America”)
    agree, the myscogeny is allowed here just like its allowed whenever a supposed white supremacist is being portrayed on screen (it underscores the Jewish victimization narrative or the anti-white narrative)
    Oh for a powerful media that can stand up to Jewish power! Jewish lies become fact since no one is powerful enough to tell the truth and connect with a substantial audience

  136. annamaria says:
    @Iris

    “The Two Frances:” https://www.voltairenet.org/article208725.html
    This report by Thierry Meyssan has a roster of French criminals who have been fattening on the blood of Libyan people. Let the profiteers’ children and grandchildren be ruined by money made on the blood of the innocent.
    Unsurprisingly the roster includes the names of American and Canadian brass who have never been bothered by such trifles as honorable behavior and personal dignity.

    • Replies: @Iris
  137. Dave Pinsen says: • Website
    @Jeff Stryker

    Harvey Keitel is Polish-American and looks it (Little known fact that his Jewish parents adopted him from fellow Polish emigrants).

    What is your source for your claim that Keitel was adopted from Polish gentile emigrants?

    • Replies: @Hibernian
  138. Hibernian says:
    @Dave Pinsen

    Wikipedia doesn’t mention it and just says he’s the son of Jewish parents.

  139. syonredux says:
    @Priss Factor

    But 2001 and CLOCKWORK owe more to European cinema than American.

    That’s not….useful. Influence transcends national/cultural borders. Conan Doyle’s Sherlock Holmes was deeply indebted to Poe’s Dupin, and Kipling’s Kim was massively influenced by Huckleberry Finn. But that doesn’t diminish the essentially British nature of both the Sherlock Holmes stories and Kim.

    This also holds true for film. Western cinema (especially John Ford) was a big influence on Kurosawa, but his films are still deeply Japanese.

    And BARRY LYNDON stood apart from what the American auteurs were doing first half of 70s. New Hollywood was moving more toward naturalism/realism, toward greater immediacy and/or intimacy, whereas Kubrick was moving more toward formalism. So, even if though it’s fair to say CLOCKWORK and BARRY are works of an American artist, they were not part of the New Hollywood ‘movement’. They stood apart.

    I agree; Kubrick was definitely not part of the “New Hollywood.”

  140. syonredux says:
    @Priss Factor

    JURASSIC is top-notch Spielberg. Wonder and Terror.

    Second-tier.The Wonder in Close Encounters was more Wondrous. And the Terror in Jaws was more Terrifying.

    • Replies: @Priss Factor
  141. @syonredux

    Barry Lyndon and Clockwork Orange were filmed in England at Pinewood studios. That is as British as it gets.

  142. Iris says:
    @syonredux

    That’s not….useful. Influence transcends national/cultural borders

    American director Orson Welles was the single most important artist in the history of cinema; he influenced all cinema auteurs worldwide, and he never really was part of Hollywood neither.

  143. Sailorant says: • Website
    @Jeff Stryker

    Google: Rabbi Barbara Aiello Jewish Italians.

  144. Iris says:
    @annamaria

    Thanks for posting; very interesting book extract.

    The corruption of Western political leaders has become blatant and shameless; impunity is total for those protected by the Zionist umbrella.
    It is known that former President Sarkozy extracted as much as 400 million euros from the late President Gadhafi, for personal enrichment, between 2007 and 2011, before launching the war on Libya to erase his tracks. Political decay is as bad in Europe as it is in the US.

    I still think we have reasons to have hope for a better future; the lies are becoming difficult to hide, compared to the models of progress and good governance given by Eastern rising powers.

    I wish you a wonderful New Year, dearest annamaria. With fondest regards.

  145. Sailorant says: • Website
    @Trinity

    Springsteen is half Dutch and half Italian.

  146. dcite says:
    @JessetheGreen

    I was smiling at that too. As JessetheGreen points out, even the conclusion of the U.S. Congress in 1978 was “likely conspiracy.” Whether Congress did or not admit that, common sense, endless research, and the visceral feelings of those alive at that time, lets one know it’s not just likely. It’s definite.
    There’s a reason “conspiracy” and “theory” are so often printed together since the late 60s.

  147. @syonredux

    Second-tier.The Wonder in Close Encounters was more Wondrous. And the Terror in Jaws was more Terrifying.

    CLOSE ENCOUNTERS is wondrous but the premise is too ludicrous. The space aliens actually totally weird to make contact with mankind.

    JAWS is great, but like THE DUEL, it’s all very primal. What I like about JURASSIC is how the wonder turns into the terror. He has a duality thing going. Great premise by Crichton and great amusement park ride and house of horrors by Spielberg.

  148. @syonredux

    That’s not….useful. Influence transcends national/cultural borders. Conan Doyle’s Sherlock Holmes was deeply indebted to Poe’s Dupin, and Kipling’s Kim was massively influenced by Huckleberry Finn. But that doesn’t diminish the essentially British nature of both the Sherlock Holmes stories and Kim.

    True, but CLOCKWORK and BARRY LYNDON, along with 2001, have little in common with American Cinema. With 2001, made in UK, Kubrick re-invented sci-fi as a genre. It has no precedent in American sci-fi. Same with CLOCKWORK. And it’s difficult to think of any American movie that could have inspired BARRY LYNDON. And yet, they are markedly different from European cinema as well though they owe more to that tradition. In the end, I’d say Kubrick belonged in his own universe. His films, esp after DR. STRANGELOVE, are too personal and out-there to categorize in terms of national cinema. One might say they’re ultimately Jewish, but he went beyond most Jewish sensibilities as well.

    “Genius is a powerful word…”

  149. anon[377] • Disclaimer says:

    As a first generation Italian-American, I find the Hollywood characterization of Italians repulsive. The contrast between Cinema Italiano and Hollywood thuggery just demonstrates the gross distortion. I won’t watch these films.

    • Replies: @Hibernian
  150. Hibernian says:
    @anon

    Couldn’t they make more films about the IRA?

  151. @Commentator Mike

    So do Jews hate the Irish because they’re not anti-German enough?

    Really ? Seriously ?

    NO, they DO NOT hate the Irish for that reason. They hate the Irish for one other CRUCIALLY important reason which has never received – and still does not receive – the clear, determined exposure of historical plain truth which it most certainly should:

    Jews hate Irish purely and simply because Irish have always been – and are still today – overwhelmingly CATHOLIC. The Catholic church was for nineteen centuries the strongest, most committed, most implacable and most final bulwark against the the relentless insinuations of the Jew into western society as “respectable” merchants, traders, tax-men, consorts of royalty, “advisors” and ruthless, despised money-lenders and landlords. The Catholic church, before it’s theocratic fall from grace courtesy of Oliver Cromwell, the only man in history to kill a king and not die for it, had absolute power in England to keep the Jews down – and out.

    And Jews, as we all certainly know very well, never forget – and never, ever forgive.

  152. @Harbinger

    Bravo.

    Except for…

    They’ll find work, through their agent

    They’ll find work, through their 100% guaranteed JEWISH agent

    Fixed that for you. You’re welcome.

  153. @Priss Factor

    I have a great deal of respect for your comments and this one was mostly fine too. Except for this:

    Spielberg’s peak was in the 90s with JURASSIC, SCHINDLER, and SAVING. He made his best work in 2001 with A.I. He never lost his film-making chops. Premise of WAR OF WORLDS is nonesenical, but its awesomely frightening.

    Are you out of your mind ?

    With the sole exception of Saving Private Ryan (which, ultimately, is nothing more than “White men doing the German scum over”), Spielberg never made anything which came close to the brilliantly-simple, raw, visceral terror of Jaws – way, way back in 1974 – and AI was the typical Hollywood disaster – a film in two separate parts, the first of which was careful clever and thought-provoking, and the second half a disastrous, laughably-awful comic-strip which might as well have been a different film by a different writer and Director. As far as I’m concerned he never recovered creatively from that laughable abortion of a movie – with the sole exception of the glorious and still today shamefully overlooked Castaway , one of the greatest films in the history of Hollywood. But Castaway was a triumph and a glory due ENTIRELY to the barely-believable talent of the WHITE actor who carried a near one-man film for two and half hours – Tom Hanks, on-camera, and NOT Spielberg behind it.

    Which leaves War of the Worlds. Again, are you serious ? WOTW was a thematic work of genius for sure – but of course, H.G. Wells’ “stale, pale, male” WHITE creative genius, and NOT Jew Spielberg’s. Which is precisely why the premise of the film and it’s opening 30 minutes are a master-class in planning, build-up and gripping emotional mood and tone, – but the massively-overblown CGI visuals of the “war” itself (which we see almost nothing of), the chronic lack of pace and tension in the dismal, dreary pointless plot execution (one man and his kid walk to Boston), and worst, the appalling choice of his laughably-mis-cast, half-asleep pal Tom Cruise – ALL personal decisions by Spielberg – are all failures on a grand scale. In other words, contrary to your view, the premise of War of the Worlds is sheer, never-before, creative genius – but Spielberg’s movie, popcorn or not, is frighteningly god-awful.

    • Replies: @Dumbo
  154. @Dumbo

    (excepting the last third – perhaps if Scorsese had forgotten about the de-aging and just made a movie about 80-year old mafiosi reminiscing and paying for their sins it could have been interesting, although too depressing for the average viewer)

    Agreed. The last third was some of the best of anything in film of the last decade. It was a powerful and unsparing meditation on aging and the ultimate pointlessness of all our efforts. At the end of his life, as he began to slip away into unconsciousness, Gustav Mahler would repeat over and over again: “My life was only so many bits of paper.” A similar crushing realization—that all one’s strivings and successes are worthless in the face of physical decay and death—pervades Sheeran’s broken senescent late years. The heartbreak of this is palpable when he shows off his daughter’s photo with Hoffa to his black nurse. She can only mutter some vague generalities before confessing her ignorance as to who that personage was. What good, then, were his loyalty, his roughnecking, his aspirations to get ahead at whatever cost amount to when all his colleagues and friends had died; the entire world in which such actions had meaning and purpose had vanished; and he lay broken and mostly bed-ridden, just another pathetic, slightly laughable geriatric?

    The racial dynamics in the last third are fascinating, too. Sheeran’s America had been a world wherein he and Bufalino were European minorities standing outside looking into the WASP world. At the film’s close, he remains a minority; only now just another old “White” man in the care (and potential mercy) of the non-Europeans which transformed everything he had known and labored for.

    Another not-so-interesting film review. What is it with alt-right people that they can’t seem to write well about movies. Still I agree that the second and especially third part of the film are the most interesting.

    So it goes for nearly all arts writing from the dissident and traditional right. Ever read Jay Nordlinger? Or anything in the New Criterion? Dreadful junk. There is Armand White in National Review, but I hesitate to designate him as belonging to the “alt-right” or any such group. The man is a thing unto himself. Maddening and eccentric, certainly—but he is also without a doubt one of the most brilliant arts critics alive today.

  155. @Skeptikal

    Sheeran was a big blond hunk with a wavy fifties hair style and a strong jaw, no existential angst in his facial expression, like De Niro permanently wears.

    Sounds like it should have been Christopher Walken – who, like Sheeran, can also dance

    Every substantive comment here, if nothing else, has underlined to me the obvious fact that Scorsese’s Casting Director should have been shot. Can’t make the right film with the wrong people.

  156. @Trinity

    Your Jew-hatred is well-taken – at least by me. But Springsteen is NOT Jew – or Jew-ish.

    Read some FACTS, friend.

    • Replies: @Jeff Stryker
  157. @Jeff Stryker

    His aunt was married to a bookmaker named Charles Murret who employed Oswald as a runner in his gambling parlor

    Never read, heard or seen that in any work I’ve ever read or seen about JFK or Oswald. Sources ?

    Kennedy’s assassination was the result of a feud between Kennedy and Giancana

    Plenty of evidence to suggest Kennedy’s assassination was courtesy of the lying, treacherous scum in the soon-to-be-disbanded CIA who despised and were terrified of him.

  158. @Dave Bowman

    Bruce Springsteen’s paternal grandfather was a so-called “Bergen Dutch” and his name (Along with band member Van Zandt) reflects this. This Dutch community is in North Jersey and was Dutch-speaking as late as the early 20th century.

    Bruce’s paternal grandmother was the daughter of Irish immigrants to New Jersey.

    Bruce’s mother was an Italian immigrant and Bruce looks more like her, obviously.

    This is well-documented.

  159. Dumbo says:
    @Dave Bowman

    with the sole exception of the glorious and still today shamefully overlooked Castaway , one of the greatest films in the history of Hollywood. But Castaway was a triumph and a glory due ENTIRELY to the barely-believable talent of the WHITE actor who carried a near one-man film for two and half hours – Tom Hanks, on-camera, and NOT Spielberg behind it.

    Huh? Castaway was directed by Robert Zemeckis. Maybe produced by Spielberg (since Zemeckis started as his protégé). Zemeckis despite the name appears not to be Jewish (Lithuanian father, Italian mother, so says Wiki, which I don’t completely trust.)

    I think the first Jurassic Park was memorable, and probably the only one good in the series. AI and War of the World are technically good and interesting concepts, but faulty and less memorable, in fact, they appear to have been almost forgotten, while Jaws is still remembered.

  160. They left out the part about Hoffa helping Biden get in the Senate: mirabile dictu, given the people involved.

    • Replies: @Father O'Hara
  161. @JP Straley

    Yeah, that scene was actually really uncomfortable. And you’re right, what came through, throughout the movie, was that Sheeran was just a working man, doing the best he could.

    I found the movie as a whole a bit dreary – trite- and I think it may be that the discourse of the movie doesn’t seem to provide anything but Sheeran’s point of view.

  162. Fell says:

    A rehash (I know the history there) and, I’ve heard, the film was too long, too Hollywood bs. The presence of only one actor, De Niro, caused me not to bother with the film at all. De Niro’s gross mental meltdowns after Trump’s election have become a real turn-off, a distraction, for many.

Current Commenter
says:

Leave a Reply - Comments on articles more than two weeks old will be judged much more strictly on quality and tone


 Remember My InformationWhy?
 Email Replies to my Comment
Submitted comments have been licensed to The Unz Review and may be republished elsewhere at the sole discretion of the latter
Subscribe to This Comment Thread via RSS Subscribe to All John Morgan Comments via RSS
PastClassics
The “war hero” candidate buried information about POWs left behind in Vietnam.
Are elite university admissions based on meritocracy and diversity as claimed?
Our Reigning Political Puppets, Dancing to Invisible Strings