The first three-and-a-half minutes of the new movie, “The Irishman,” is tightly packed with the story’s expository information of the main character, Frank Sheeran.
Right out of the gate, there is a long tracking shot of the interior of a nursing home; clients in wheelchairs accompanied by attendants pass by card-playing folks — walkers and oxygen tanks can be seen. The floors shine. At the end of the shot sits a guy in a wheelchair with an Irish shillelagh resting between his legs, wearing glasses that were once in style. The fifties’ hit song
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