Three of the Best Editing Oscar contenders — “The Irishman,” “Marriage Story,” and “Little Women” — boast complex narratives about friendship and mortality, the forensics of divorce, and artistic liberation.
And they employ creative use of flashbacks and montages as part of their storytelling arsenals, too.“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 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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