MOTHERLESS BROOKLYN [Film Review]

If it were a triangle, writer/director/actor Edward Norton’s interpretation of Jonathan Letham’s 1999 novel of the same name would certainly be of the scalene variety. While a cohesive whole, it’s a bit uneven and lopsided throughout its 144 minute running time.
Norton certainly has a great eye for composition and manages to elicit wonderful performances from all the actors involved. Yet for every spate of memorable moments there’s at least one that falters and seems out of place.
But let’s not get ahead of ourselves. The story is a neo-noir centered around Lionel (portrayed by Norton), a neophyte detective who suffers from Tourettes. Yup, our protagonist is prone to yelling out swear words and nonsensical phrases at the most inappropriate of times. This, naturally, lends a quirky sheen to the overall plot, which is more or less a turgid murder mystery.
The other interesting aspect of the film is that the source material took place in the ‘90s, but Norton has staged his version in 1957 where race and affluence play a major role in the wheelings and dealings of New York City. The story is a labyrinthian swirl of underhanded politics and racial tension taking place on the cusp of a new decade. (FWIW, I read the novel back when it was first publishe din 1999, but I did not re-visit it prior to watching the film. I plan to re-read it shortly and then compare the differences).
In regards to the look of the the film, Norton proves to be rather skilled behind the camera, delivering deft action sequences like the taut opening concatenation which mixes engaging dialogue with a sinister meet and greet that ultimately ends in a terse car chase and dastardly gun violence. The tension he creates in this long introductory scene is fantastic. He re-manifests this same sense of energy and excitement later in the film with a wonderful altercation between our “hero” Lionel and a behemothian thug. The entire escapade takes place in the confines of a narrow apartment hallway and on a rusty fire escape. With these scenes Norton displays a knack for staging lean and mean action scenes. Norton also has a great eye in regards to the composition of scenes. Many shots in the film are beautifully staged as if they were meant to be still photos exhibited at a gallery.  He also makes wonderfully creative use of reflections and shadows throughout the film.
When it comes to the acting, Norton has seriously stacked the decks in his favor. The entire film, especially the nuanced dialogue, comes alive thanks to the likes of Alec Baldwin, Bobby Cannavale, Ethan Suplee, Willem Dafoe, Michael K. Williams, Gugu Mbatha-Raw, Fisher Stevens (when was the last time you recall seeing him in a film, right?), all of whom are supplemented by a host of amazing character actors. The aforementioned dialogue is sharp and witty causing you to dwell, with extra concentration, on every syllabel uttered. In fact much of the time it feels as if Norton has given all the best lines to his co-stars, in addition to coaxing undeniably great performances from them.
For all his excellent composition of scenes and keen knack for eliciting top notch performances from the cast, Norton himself often seems out of step with the proceedings. There are several scenes which just feel stilted and awkward. These often involve Norton and another actor interacting face to face and they ttend to be shot from the side in profile. While his fellow actor is  often delivering an impassioned stream of dialogue, Norton himself looks uninterested, dare I say bored.  Yet when Norton is the only one on screen he shines. It’s almost as if he focused all of his attention into nabbing great performances from his co-stars, but forgot to afford himself the same favor.
There are also a few scenes that are just too long and, well, awkward. One such scene features Norton and Mbatha-Raw dancing at a jazz club; it’s just too slow and dull, mostly due to wonky pacing and a feeling of detachment. There are a few other scenes like this sprinkled throughout the film which could have either been shortened or left out entirely. To this end the film could easily have been edited down by 15-to-20-minutes and still not lost any of its allure or punch.
Another incongruity which pops up is that while most of the actors appear dressed for the period, Lionel’s fashion sense seems odd; his hairstyle appears way too modern for the era and his sartorial choices often look out-of-step with those around him. Perhaps this was a conscious decision to separate him from the rest of those around him, painting the character as a true outsider. If that was the case, fine, but it didn’t really work for me. Keeping in line with this ill-matchedness is the inclusion of a Thom Yorke song in the score. That it’s prominently featured only further heightens its discordance in regards to the overall look and feel of the film. (FWIW, I caught an NPR interview with Norton where he discussed the song and how he liked that it created this rift in the feel of the film. Sure, it’s undoubtedly a great song on its own, but it just doesn’t fit the mood, time period, or vibe of the film and ultimately serves to disrupt the flow of the film. But that’s just my humble opinion...and I dig Radiohead and Yorke’s solo work, too). The rest of the score, however, is fantastic. A cool, mid-tempo expanse of jazz crafted by Daniel Pemberton, it burbles and swoons underneath the scenes creating a smoky vibe throughout; one that really compliments the overall ambiance of the film.
Sure, at times the unevenness of the film makes for a sometimes frustrating--but never ever dull--experience. Yet when all is said and done, the strength of the supporting cast along with some expertly staged and filmed action sequences, artfully composed scenes, and a bevy of crisp and rich dialogue make this an adaptation seriously worth a watch.

Rating: 3.5 (out of 5)

RIYL: Road to Perdition; History of Violence;