What could be the crowning jewel of this film’s extensive gallery of character interactions is the collection of moments where Norton’s Lionel interacts with Gugu Mbatha-Raw’s Laura, a person of interest in his investigation. Knowing how to get the right reads out of himself, as well as his ensemble cast, Norton’s work on Motherless Brooklyn hits it out of the park when it comes to his intention to make a film similar to the classic detective stories of old. The interior monologue he’s given throughout the film helps us see the character’s personality as clear as day, with his condition sometimes adding well-timed humor and depth to the proceedings. Instead of using this as a quick shorthand to endear the viewer to his character, Norton lets Lionel’s disorder add a facet to his life, rather than play to cheap sympathy. And yet, Edward Norton knows exactly which beats to hit in his script and direction, especially in depicting Lionel’s bouts of Tourette’s that are peppered through the film. In the wrong hands, every other word is dame, and the interior monologue narrating the picture sounds too knowing and way too assured.
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