Directed by Edward Norton
Written by Jonathan Lethem (novel) and Edward Norton (screenplay)
Starring Edward Norton, Gugu Mbatha-Raw, Alec Baldwin and Willem Dafoe
Running time Two hours, twenty four minutes (sigh)
MPAA Rating R

by Rosalie Kicks, Old Sport 

”I always did enjoy a night drive.”

In regards to my film criticism, Edward Norton is catching me at a very sensitive and compassionate time in my life.

Initially, after viewing his magnum opus that was twenty years in the making, my thoughts were that it was a beautiful looking film that was inevitably a waste of everyone’s time. However, upon wrapping this past weekend on the film production of Pizzaman - the slasher short I wrote/directed with my film pal Katie McBrown and producer, Ian Kimble - my typical grumbling tune has changed a bit. Through the madness of my movie making journey, I was reminded of one simple fact: filming a motion picture is really freakin’ hard.

Filmmaking may not be brain surgery, as it does not require a distinguished degree from an esteemed university. Anyone can make a movie. Gather some pals, find a camera, a few lights, a microphone and away you go. Sounds simple… but there is one key ingredient that not everyone has: moxie. Edward Norton’s Motherless Brooklyn (in which he pulls an Orson Welles by writing, directing and starring) may not be film of the year, but one thing is clear, this dude has moxie. After first reading the novel written by Jonathan Lethem in 1999, Norton adapted the story Motherless Brooklyn. A mere twenty years later, it is now seeing life on the silver screen.

Norton took liberties with the original work by updating the modern time frame of the story to the 1950s, which lent to the film’s noir style it was attempting to achieve. It tells the story of detective Lionel Essrog (Edward Norton), who sets out to piece together the puzzle that is his late boss, Frank Minna’s death (Bruce Willis). Lionel has an exceptional ability for recalling intricate details from a scene, conversations or interactions. The ability to recollect such information is an extremely worthwhile asset for a gumshoe. The only setback for Lionel is his condition of Tourette’s causing him to have motor tics, spasms and the inability to control his own dialogue. At one point the character describes his mind as “...living with an anarchist.” His disorder often creates hardships for him, especially on the job. The sudden outbursts or convulsions are often brought on during moments of stress or situations of anxiety which, one can imagine, is a predicament a detective often finds him or herself in.

As in many noirs, the story uncovers the city’s seedy underbelly and misdeeds. These wrong doings are specifically being caused and created by real estate mogul/developer/Trump-like figure, Moses Randolph (Alec Baldwin). During Lionel’s relentless search for the explanation of his boss’ death, he uncovers a plot of gentrification, a scandalous affair and corruption.

As much as the production design and cinematography within this film are absolutely stellar, my main issue with the film is the story itself. This film clocks in at two hours and twenty-four minutes, which is completely unnecessary. To say the script meanders would be an understatement. The film tries to address so many ideas that it gets lost in itself and ends up being a mad dash to the finish line. Through the use of excessive amounts of dialogue and explanation, it attempts to give the viewer closure. I was left feeling that Edward Norton wanted to get a message across and relate his story to current affairs, particularly in the political circuit, but, instead, much of this is lost due to an over-complicated script that chose to go in too many directions. I was also struck that many of the actors came off as trying way too hard to make an authentic noir-esque style film that portrayals often came off as exaggerated.

Despite this, it is clear that this project meant a lot to Norton. Each and every frame seems to have been crafted with care. The set design and costuming are exquisite and it will not be surprising if it ends up with some Oscar nods recognizing these creative efforts. The business of making movies isn’t easy. In a conversation with our producer of Pizzaman, Ian Kimble, I was reminded of this, which made me look back at Eddie’s film in a whole new perspective and see Motherless Brooklyn for its accomplishments rather than its failures.