Best Supporting Actor 2019: Joe Pesci in The Irishman

Joe Pesci received his third Oscar nomination for portraying Russell Bufalino in The Irishman.

Joe Pesci perhaps has one of the most unique careers out of any actor, marked by his Oscar nominations. This in failing to truly breakout after his initial Oscar nomination in 1980 for Raging Bull, before fully breaking out in the 90's after his Oscar win for Goodfellas, where he broke out perhaps even beyond expectations in that he was arguably nearly became a leading man for a period in the 90's, when he was in his fifties. Pesci though walked away from all of that, only appearing in a sum total of four films post-2000's, including this one, a voice role and a short cameo. This being less so a selective actor and more so a reluctant actor, as in that entrance of semi-retirement came also his attempted return to being what appears to be his true dream, that of being a crooner. Something he attempted and failed to do in the 60's, returned to in the late 90's, and would you believe he has a new record out now...I ponder if the promise of that was the method in which he was convinced to come out of retirement for this film...but I won't speculate too much. Now Pesci has returned, probably only briefly, to film here, and along with his previous Oscar recognized roles, shares the screen with Robert De Niro in the lead role, with Martin Scorsese directing the pair once again. The film marks their fourth collaboration overall, Casino being the not Pesci related Oscar nomination missing link, and with that film that film the third foray of Scorsese with Pesci and De Niro in a film that examines the gangster underworld. Now the funny thing in all of this, and one should be careful about using funny in relation to Joe Pesci, is that as much as Pesci seems the reluctant actor when you look at the amount of times he turned down the part, and his minimal output overall, you'd think he didn't care, however if one watched only the film, you'd only see a brilliant actor returning to the medium he so shined in once again.

This role is a notable change of pace for Pesci from his other gangster collaborations with Scorsese, where in Goodfellas and Casino, he played two different forms of a psychotic hot head who lives like a rabid dog and eventually is put down like one, if they're lucky. There is a colossal shift here though, as even though Pesci is perhaps one of the all time greats when it comes to delivering expressive intensity into a role, you'll barely even witness him raise his voice in this role. Now if one thinks that this will somehow hinder Pesci's performance, well you might just be insulting him a little bit, something we also should never do with Pesci, and witness what he does here as Russell Bufalino also known as The Quiet Don. Pesci's performance is extremely subdued as we meet him in his first chronological scene, as he meets future hitman, then trucker, Frank Sheeran (Robert De Niro), at a gas station. He helps the man, and Pesci leaves a memorable impression even in this scene. This as he brings a overabundance jovial warmth within the man as he helps the man. His exuding this genuine care, though when asked his name, there is this brilliant flick of shadow in his eyes. There alone we are granted the sense that this man isn't just a kind gentleman, even as he is just that in that single small maneuver by suggesting a different sort. Thankfully this is just a slight introduction before Frank runs into Russell again, now as he is introduced into the criminal underworld of New York and Pennsylvania, of which Russell is an essential figure within.

This is amazing work by Pesci, as he not only is able to deliver this work without the need of his usual style of performance, but he is absolutely mesmerizing to watch here. This as we even are given another introduction of sorts to Russell who invites Frank into the underworld and takes a liking to him. Pesci is able to realize this incredible charisma in the part, a charisma not defined by piling on any idea, but rather this is just the presence of the man. This is as he does it effortlessly, and in that quite the achievement, because Pesci just is this man. The vividness of Pesci's work is stunning in that not a single word, or moment in his work doesn't seem to exhibit this complexity of this man. This man who could only exist as he does being so many more things things than one would expect. In that on one hand he seems like the father figure, even to Frank in a way, as this supportive mentor. This that Pesci creates with that warmth, but this incisiveness in his words as showing a man who is never simply saying one thing. The fascinating thing about what Pesci pulls off here it is that it isn't though as this facade, rather he is able to capture rather the extreme intelligence and aptitude of the man, as every part of him is real in a sense. This is just rather that Pesci portrays Russell as a man who is almost conducting himself on a different thought level than anyone else, working multiple steps ahead and beyond all others. This is that Pesci is able to find while still being such a reserved yet always striking figure.

Pesci's realization of this is essential, and stunning as he fashions a believable sense of a man who defines a power of a different kind, though more powerful than any man with a gun. If one wants a masterclass on how to use one's eyes in film, watch Pesci here, as this is nothing short of extraordinary. This as Pesci says more in a single change of a glance than some actors do in an entire performance. For example, take the first time Frank nearly comes afoul of the mob by potentially accidentally bombing a mob owned laundromat. First Frank turns to see the usually so affable Russell, with this immediate expression that creates a sense of the gravity of the situation from just that there isn't a single sense of accommodation in Pesci. When Frank here's he'll be alright by doing the right thing for the powers that be, Pesci's glance just as easily softens so effectively into this mentor expressing instantly towards Frank "see how I've saved you". Pesci doesn't say a thing in the exchange, but says as much as De Niro and Harvey Keitel who he shares the scene with. This as Pesci realizes the eloquence of essentially in many ways a vicious killer, that Pesci puts bluntly in his only narration scene, but knows exactly how to operate as one in this underworld while never seeming as one. I can't help but adore every scene of Pesci, because he doesn't waste a second of a moment. There really is never a time that Russell says "kill this guy" or even that often uses a euphemism for Frank. It is just this change in expression from Pesci. My favorite perhaps being after an insult from a younger up and coming gangster, Pesci has this simple moment of hardening of his eyes towards De Niro, and in only that we that Russell has condemned the younger man.

Again though what is so remarkable is that Pesci isn't portraying different facades, rather it is all one man, who rather does just exist with this ability to measure all moments and play each side of an equation artfully. This as we see Russell outside specifically the mob situation, though he is never completely detached from it, and Pesci again is outstanding in the ease yet vibrancy of his performance. This is even the smallest moments like the interactions with his, as entrenched, mob wife, Pesci brings the sense of affection but the most minor push back of an old married couple. This like his quietly assuring way of "I made a vow" when remarking his decision to stop smoking and his earnest request that she smoke outside of the car. This also in his moments of just interacting with Frank's family and trying to be friends with Frank's reluctant daughter Peggy. Pesci presents this loving sort of grandfatherly manner as he attempts to try to endear himself towards her. This is wholly genuine as Pesci shows Russell really is truthful towards her in this moment. What I love though is he shows as much in his reactions to her near revulsion towards him, with this sense minor of frustration but an even greater sense of understanding. This as even as he insists she thanked him enough for a gift, while her father insists a greater thank you is in order, is a man who wants to show his affection, but speaks with the awareness of the type of man he is. In this as Pesci speaks the words with a truly unfortunate "oh well" rather than any bitterness towards the girl. Pesci's work though again goes beyond expectation though as he still doesn't make this two Russells, but rather one man who is able to artfully exist in both his personal life and the darkness involved in his professional one. Some of Pesci's greatest scenes come within the end of this, as his and Frank's once mutual friend Jimmy Hoffa (Al Pacino) has fallen out of favor yet is trying to regain his power as union president of the teamsters in any way he can, a concern for the mob. The one major scene between Pacino and Pesci, is one of the best in the film, and another astonishing scene for Pesci. This as we witness the method of Russell, that we see throughout the film, though this is one of the best moments of that of the negotiator. This as Pesci delivers with such strict sincerity the concerns, that he underlines with this conviction both towards Jimmy to take each word seriously, but that he also does hope Jimmy will make the right choice. His manner projects still the support almost of an understanding priest, not trying to tell Jimmy what to do, but rather hoping he will see the light. When Jimmy still rejects all of Russell rather reasoned urging to stand down, in his turn from him , Pesci's face again says so much in the resigned disappointment in Jimmy, and the glint his eyes, that is as deadly as the violent ravings of a vicious enforcer.

When of course Russell is not working, or negotiating though he is the one who makes sure death is assured, and in that we have maybe Pesci's greatest scene in the film, though of course Pesci only really has great scenes in the film. This in the pivotal breakfast where Russell tells Frank that he has to be the one to kill Jimmy, Frank's best friend. Pesci is flawless how he conducts the scene because in truth he is a snake charmer, in convincing a man to truly work against his self to kill perhaps his best friend. The thing is though with Pesci there is no curtain, no trick, no hypnotism, just gentle reason and tenable position. This as again his eyes alone say so much in the moment, as they manage to segue from this real sympathy for Frank's struggle, however just as much the real threat of the mob as they toughen ever so slightly in speaking of Frank's own safety, before breaking towards again this comforting appreciation, and genuine rationalization of explaining that they gave Jimmy so many chances. This as Pesci pulls off the trick without a trick, in being so convincing, and really technically manipulative, without seeming as such, as when Pesci says it, everything just seems to ring true. This as Pesci's whole performance is this profound creation of this type of power. The power of the silent man of judgment and calm. This as his quietude and even silence, Pesci makes such a unforgettable impact, and always holds one's attention distinctly. This as Pesci not only successfully subverts the typical expectation of a Pesci gangster performance, he goes far further in giving one of the greatest performances of its kind. This portrait of a truer sort of power, a greater one, of the man wields it with but a gentle word. I would be remiss though if I did not mention Pesci's final scenes that would be worthy of an Oscar nomination alone. This in his portrayal of an aged Russell. This as he realizes so naturally the nearly broken mannerisms of the man, marked by elderly tremors as the man now struggles to even eat bread. Pesci in an instance gives insight into the wear of the man's advanced age, and finds such a poignancy in portraying such eager appreciation of the small pleasure of just sucking on some bread dipped in wine, no longer able to eat it due to his teeth. He is heartbreaking even though as he brings up his sorrow over Jimmy, that Pesci portrays the most intense anger in his whole performance, by now creating the sense of frustration of having been forced into such a difficult choice. Although there is still a rationalization, Pesci delivers on the very real sadness within the rage of regret. This before his final moment of being quietly heartbreaking in being wholly convincing in portraying the doddering old man now, as he speaks to Frank of "going to church" with a hopefulness not of for freedom in his current life, though maybe something in the next. Although Pesci will probably try again for his singing career, I'll just appreciate what we received once again from him, this being yet another consummate turn in realizing all the greatness within his role, and  even going beyond it. This showing that while Pesci will forever be a reluctant actor, to me, he is undeniably a great one.