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This year’s Best Editing Oscar race among ” The Irishman ,” ” Parasite ,” ” Joker ,” “Ford v Ferrari,” and “Jojo Rabbit” is marked by unconventional characters and demanding narratives. There are complicated flashbacks (“The Irishman”), an unreliable narrator (“Joker”), imaginary relationships (“Joker,” “Jojo Rabbit”), a tricky two-hander (“Ford v Ferrari”), and a volatile ensemble piece (“Parasite”). And they all possess dream-like qualities to their life lessons.
“The Irishman” marks Martin Scorsese’s summary movie about mob life told from the perspective of hitman Frank Sheeran (Robert De Niro), who recounts his conflicted life in trying to appease both crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino). “It’s a different view of mob rule than Marty’s previous movies,” said three-time Oscar winner Thelma Schoonmaker, the director’s long-time editor of nearly 40 years. “He wanted to do brushstrokes with history that were relevant to the characters, not make a documentary about Jimmy Hoffa. And Marty didn’t want to explain a lot — he wanted the audience to figure things out for themselves.”
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Why the 2020 Oscar Race for Best Picture Is So Hard to Predict — IndieWire’s Movie Podcast Oscars 2020: Best Editing Predictions But, unlike “Casino” or “Goodfellas,” Scorsese wanted a slower pace, and a deceptively simple style for “The Irishman.” This suited his unglamorous depiction of mob life and De Niro’ desensitized World War II vet. All his life, he was a loyal foot soldier, but it all falls apart when he’s ordered to kill Hoffa, his best friend. As an old man looking back, mournfully, he tries to come to terms with loneliness and regret.
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