Can’t trust anybody. Not even randomly kind Jewish men.
Norman (Richard Gere), a New York fixer, knows the right people and can get things done. He also can tend to be a bit overzealous and, as a result, begin to scare more people away, than actually bring them in and closer. Often too, his tactics can be a little odd and rub certain people the wrong way. But then again, those are the kinds of people Norman doesn’t want to really work with, which is why when an Israeli dignitary named Eshel (Lior Ashkenazi) comes to the city, Norman decides to impress the man by buying him some very expensive shoes and seeing if they can build on some sort of friendship. It works and he establishes a strong connection to the man, and it helps him when Eshel becomes Israel prime minister a few years later and, get this, actually remembers Norman and wants him to help out in his office. Norman accepts, but also wishes that he was a lot closer to Eshel and the inner-workings. Eventually, this causes issues for both men and will ultimately prove to be Norman’s unraveling, where his real life, all the secrets and lies that he’s kept throughout the years, finally come to lie.
“Trust me, it’s cold out.”
Norman feels like it’s based on a true story, but it really isn’t. In a way, writer/director Joseph Cedar seems to be basing this story off the numerous individuals who work in the strategy-world portion of politics and he doesn’t seem to be frowning upon them, nor even glamorizing them – in fact, he’s more or less just giving them the fair-shake they probably deserve. Political fixers, so often, are seen as heartless, tactful, and evil-doers who find a way to win and keep at it, no matter what. Why on Earth we look down upon these people as less than human, when in reality, they’re just really good at their jobs. And in Norman, the idea we get about political-fixers, as well as the title-character, is that being good at your job is one thing, but being a good and smart human being is another.
Although, that’s what I think.
See, the small issue with Norman is that the movie never really knows just what proves to be his actual fall-from-grace, because honestly, we never really get to see the rise, either. Of course, the word “Moderate” in the title probably says it all, but honestly, when your movie is built around the fact that your lead character doesn’t really accomplish a whole lot, yet, still falls down dramatically off the social-ladder, it’s hard to really feel any pain or emotion. We may care for this character, or even what he’s doing, but if we really don’t get the sense of what’s being accomplished and lost, then really, what’s the point?
Well, Israel’s got enough problems on its plate, honestly.
If anything, Norman proves to be another solid showcase for Richard Gere who, so late in his life, almost doesn’t care how big the movies he’s doing are. By now, he’s so happy to be able to work with these three-dimensional, interesting characters, that he’ll take the budget on, regardless. And as the title-character, Gere’s quite good here; he has every opportunity to play it silly and cartoonish, but thankfully, he strays away from that. In fact, what we see with Gere’s portrayal is a small, rather smart man who also just wants to be recognized, praised, and above all else, loved.
In a way, if you look closer and closer into Norman, the movie does show itself as an intimate character-study of this one relatively troubled man who, despite seeming to have it all, still wants a little more. Cedar is a smart director to know when to get in the way of his ensemble, but because he doesn’t and they’re all good, we see more sides to these characters than ever expected, especially Gere’s Norman. He begins to show his true shadows and signs that, once broken down, unveil a very unexcited and disappointing man. The movie doesn’t really hit as hard, or as heavy as it should, but considering there’s Gere here, it’s safe to say that he’s still an interesting enough character to watch wheel-and-deal for over two-hours.
Anybody else, anywhere else, probably would have been a pain.
Consensus: Though it never really delivers going any deeper than it should have, Norman still works as a smart, interesting character-study, anchored by an even better Richard Gere performance.
7 / 10
Someone give him a hug already!
Photos Courtesy of: Kenwood Theatre