Written by David Cerón Giraldo, Photo courtesy of SCAD
A neo-noir mix of “The Maltese Falcon,” with the contemporary visuals of “Green Book,” “Motherless Brooklyn,” is a story about the tug-of-war between idealism and self-dealing – directed by Edward Norton (not just “Ed,” thank you).
Starring Edward Norton as a private investigator named Lionel, the movie has a sense of urgency that drives its action, with an emphasis on the noir. With Norton behind the camera, the urgency comes from proving that he is a Clint Eastwood twenty years in the making, and not just another actor that fancies himself an auteur.
First off, while trying to get the upper hand on a bad deal, Lionel’s mentor is betrayed by powerful men. From this point on, Lionel snoops to find out why. There’s only one problem in the way of his sleuthing: Lionel has Tourette’s Syndrome. (Another issue for some viewers may be that tics are a punchline more often than not, but that is offset by the fact that Lionel is special because he has a photographic memory. Take it as you will.)
“There’s something wrong with my brain,” Lionel says to a lady. “It’s like one part decided to go off on its own and take over the wheel every now and then. Except it’s very particular.”
“Well,” she says. “I think it’s fine.”
If the story feels strangely modern, that’s because it was adapted from a novel by Jonathan Lethem set in the nineties, then wound back to the fifties by the screenwriter (also Norton). It takes a bit to get started, but eventually, Lionel meets Alec Baldwin’s character, Moses, a corrupt official, and the pace picks up. Baldwin seems to have studied indirectly for this role by satirizing some politician on TV. The trend continues with solid performances even from minor roles.
On that note, the set design is impeccable. Locales in this New York depict colorful old Chevys, names painted in yellow on glass office doors and believable costuming in black hats, suspenders and shined leather shoes. The comparison to Green Book is two-fold, both in the movie’s buttery focusing, which lends its atmosphere, and the precise, if unimaginative, use of camera movements and angles. It also has a social message on class and race that is a bit underdeveloped.
“All my life I didn’t have anything worth caring for,” Lionel says. “But now I feel like I might as well pick a side.”
Taking advantage of the visual language of Noir, Norton uses stark shadows to frame heroes and thugs. The darkness of the city is lit well, so none of the action gets lost. Most sequences are straightforward; some are surreal. The streets are almost entirely believable, just in need of a little more filth to sell the mood. The protagonist narrates wistfully, and a lovely jazz score backs the scenes.
When the chips are down, “Motherless Brooklyn” may not be the most inventive of neo-noir films. Yet, it has charm and good old Ed at the helm. Everything was done cleanly, and with great care, so you may find the film adds to the sum of its parts, perhaps more.
