Martin Scorsese, cinephile director of 'The Irishman,' has spent much of his life looking into dark hearts and examining the avenues of violence, power and greed.
Martin Scorsese’s “The Irishman” — a much-hyped, three-and-a-half-hour Mafia world epic for Netflix — is a complete triumph.
“Hitchcock played the audience like an orchestra,” said Scorsese. “ ‘The Birds.’ ‘Strangers on a Train.’ The thing is, with the Hitchcock pictures, you can go back 10 years, 20 years later, and they’re still rich. Some are better than others. ‘Rear Window’ stands up more than ‘To Catch a Thief.’ ‘Psycho’ remains. What’s interesting about ‘Psycho’ is that the murder scenes, all that incredible editing, still hold up. But that’s not the most interesting stuff.
“You can’t stop the creative impulse of young people wanting to tell stories, whether it’s writing, painting, music, theater,” he said. “They’re going to do it, and I think the reaction is stripping it all away and going back to the human being. The storyteller.”Robert De Niro in “The Irishman.” Written by Steven Zaillian, the film, which is estimated to have grossed more than $4 million at the box office , is about the duplicitous and the corrupt. It centers on the relationships and loyalties of wise guys. But it is a glimpse of America’s sins and foibles from President Kennedy’s failed Bay of Pigs invasion in Cuba to the rise of Richard Nixon and Watergate.
“The point is [democracy] is always in progress, and now we’re having our biggest test since the Civil War. The world is constantly being tested on how we should live,” said Scorsese. “I go back to ancient Greece. You had Plato and Dionysius in Syracuse. Dionysius was this terrible tyrant, but he brought Plato over because Plato was talking about the philosopher king. He was going to teach Dionysius. But Dionysius wound up arresting Plato. He sent him off to be a slave. It didn’t work.
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