Motherless Brooklyn is a 1950s New York whodunit film made by its star, Edward Norton. As with most detective films in this setting, the cast is made up of mostly white men (with a few exceptions). Many reviews of Motherless Brooklyn characterized this film as film noir. There is a debate about whether noir is a genre or a style, making it hard to define. Stylistically, Motherless Brooklyn is in the classic noir style. The debate involves classifying it as a genre. Classic noir is defined as a stylish drama with cynical attitudes and sexual motivations. In this case, the film is only noir in style. Scenes in the speakeasy in Harlem are gorgeous in lighting, pacing and tone, and the jazz music throughout the film is perfectly used.
While the cinematography is beautifully done, it is a looooooong film. There is a major event in the first few minutes, and the last thirty minutes are very exciting, but there are two hours in between. Following the storyline and all of its twists and turns is a bit confusing. I am not sure if it is hard to follow, or if I checked out because of the length.
Lionel Essrog and Neurological Disorders
Edward Norton plays Lionel, an assistant private detective with Tourette’s Syndrome and Obsessive Compulsive Disorder. When I saw this in the trailer, I was worried about how it would be handled. There were moments of comedic relief with Lionel’s ticks, but not in an offensive way. Norton handled this very gently, making sure it is not a silly gag, but instead it is a source of Lionel’s “other-ing”. The other characters do become confused by the disorders, but not necessarily hateful because of it. Beyond the reactions to these ticks, the disorders are presented as what they are — neurological disorders and not mental disorders. Lionel is smart and quick, and his disorders are helpful in his line of work. Because of his childhood and his disorders, he is better able to accept the information given to him as he dives deeper into the racist deceit of city politics.