Irish: Martin Scosese'S Latest Film Relativity Theory

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Not long ago, Martin Scosese published an article in the New York Times explaining why he thought the movie was not cinema and how he understood the existence of film as a unique form of art. The film director, who had created "taxi driver", "angry bull" and "poor street alley", has already established his position in the history of film. The wave of his remarks is predictable, and a global debate on what is "movie" broke out.

The Irish. Data map

The cause of the incident was Scorsese's interview with Empire magazine during the publicity of the new Irish film. In the interview, he likened the movie of "Wei Wei" to "theme park" and ushered in a strong dissatisfaction among fans. Old Martin is undoubtedly the most qualified film defender of this era. He advocates that real films should broaden their perception and give them inspiration rather than follow commercial rules and cater for public taste. He is also aware of the dangers that the industry is facing. Conservative big studios are reluctant to invest in this expensive Irish, thanks to Netflix's generous offer, and the film is finally completed. This also determines the way the movie is put in. After the short and limited theaters are released, the Irishman flies to the net and waits for more viewers to click on the mobile terminal.

The Irish is the opening film of this year's New York Film Festival. I was privileged to participate in the exciting global premiere at the Lincoln center in New York as the first group of viewers. In the thousands of people's Hall waiting for the lights to go down and the screen to shine, holding their breath to greet the white haired Robert Deniro, he began to tell the story of his character, then sat quietly in a chair which was not comfortable, and went through a three hour, twenty minute screen adventure. Whether the Irish is as exciting as expected, the film itself and the movie theater that cannot be duplicated will remain in my memory.

Scorsese mentioned Hitchcock in his article. He said, "every new Hitchcock movie is an event." Indeed, the movie is not just a cultural product, but a real object marked by price. We go out to the cinema to gain an experience. But when streaming media websites become popular viewing channels, how should we view movie art? When the movie becomes accessible, when the huge screen is no longer sacred, we may ask, is the Irish movie a movie?

Scorsese is an old man in the middle of the seventies. The biggest difference between the Irish and his past gangster films is a feeling that has gone through the years. The film is adapted from Charles Blunt's (Charles Brandt), a non fictional literary work, "I Heard You Paint Houses", and Deniro plays the protagonist Frank Chiland in the trade union leader Jimmy Hoffa (Pacino) and the low-key and steady Gang gangster Russo Bufa (Jo Percy), his existence defines some ethical and moral boundaries. The old soldier returned from the battlefield joined another struggle in the half way of life, and death became the key word in his life. Hiran did not lose his life in the gang's fight, nor was he punished by law against Hough. In the past, it was even more magnificent to be old and lonely. In Irish, there is no excessive rain and wind, and the exit of every important person can be without waves.

This time, Scorsese also launched a new technology to burn money: through CG processing to help characters "rejuvenate" to achieve age reduction effect. From the midst of man to the middle age to the desolation of old age, the challenge of the old dramas is to deduce the traces of time with the age of eighty. But the special effect of wrinkled face is still somewhat weird. After all, we have seen Scorsese and Deniro's natural aging process on the screen, and technology can only make their faces return to the spring, but the sense of age is not only determined by appearance.

Flying the Irish again, the big screen is reduced to the computer screen. The exquisite era landscaping, exquisite photography and sound design seems to be no longer so important. Robert Deniro, Jo Percy and Al Pacino's three heavyweight old dramas also damage their sense of impact. In any case, when I can drag the progress of the Irish, I feel sorry and curious about the complex emotions, because the movie is changing in the clouds and at the fingertips.

Aging is sad, and fans are old and affectionate. Old Martin and his three legendary actors jointly created a dirge of the gangster and made a high-profile self salute. Time and tide wait for no man. It is a truth. In the Irish drama, it seems that the glory of the past will fade away. In the old days, friends and friends are already gone.