In 1950s New York, a lonely private detective afflicted with Tourette’s Syndrome ventures to solve the murder of his mentor and only friend.
Working in the classic noir genre, Edward Norton writes, stars, produces and directs an ambitiously grueling debut. Over the years he’s turned in some impressive performances but lately, he’s been kind of quiet. During the entertaining roast of co-star Bruce Willis, Norton talked mostly about himself and this upcoming passion project he’d been working on for nearly two decades. I think of Norton as one of those actors performing a one-man show who ends up enjoying the experience more than his audience.
In “Motherless Brooklyn,” he’s Lionel, a gumshoe with Tourette’s Syndrome. Originally the novel was set in the 1990s but Norton thought the fast-talking dialogue and story was better suited for the 1950s. Lionel is introduced riding around with his wheelman and begrudging partner Gilbert (Ethan Suplee). Using typical noir voiceover, Lionel explains his condition compels him to have verbal and physical outbursts like “glass in the brain.” To keep his mind somewhat at ease he chews gum, smokes weed, and sometimes partakes in “heavier things.” He’s able to retain any piece of information which is why he’s so valuable in his profession. Norton’s performance is committed to a fault, his earnest demeanor and constant interjection of “if!” becomes tiresome.
Frank (Bruce Willis), is Lionel’s mentor who took him and fellow orphans under his wing. Over the years he schooled the destitute youths on the finer points of being a detective and now they’re employed by his private eye agency. Frank is a lifelong bachelor using the familiar quote, “how do you get married when there’s always 22 on the menu?” (Willis is known to say this in person). He arranges a meeting with some shady looking men who bring an NBA-sized henchman. The meeting goes south and Frank is shot dead. Lionel is determined to get to the bottom of his murder and becomes immersed in a growing conspiracy which of course involves the upper echelons of NYC’s power players.
The ensemble is full of some great actors like Willem Dafoe, Bobby Cannavale, and Gugu Mbatha-Raw. Unsurprisingly, Alec Baldwin is cast as the wealthy antagonist Moses Randolph. Baldwin seems to enjoy being typecast as a menacing tyrant. One of the best bit parts is played by Michael K. Williams, in a very winking/nudging homage to Miles Davis, playing trumpet and telling off over-familiar white fans. Yet the story never develops or fails to meet the cast’s talents.
For a debut, the film is certainly rough around the edges yet still gorgeous to look at. Cinematographer Dick Pope captures the lights, bridges, and streets with a blurry composition that’s lushly stylized. The use of lights and shadows recall the famous ‘Night Hawks’ painting by Edward Hopper. I enjoyed the production designs’ cars, clothes, and even the neon emergency room signs. “Motherless Brooklyn” shows Norton has a decent eye for direction and some natural timing for comedic moments, but there’s something missing. The pacing and cardboard characters all feel on-the-surface. A fair amount of the scenes feel like actors in dress-up reciting 1950s colloquialisms instead of organic conversations. It’s not the worst genre attempt but I was hoping for more from everyone involved. I’m never shy when it comes to a long film if the material is there but with this story’s running time of nearly two and a half hours, it’s an endurance test. “Motherless Brooklyn” was a best-selling novel so maybe on paper, it made sense to adapt it but perhaps it’s best left alone in print.
Available on Blu-ray, DVD & Digital January 28th
