Norman
Dustin Chase
Richard Gere is on double duty this week, with two new releases. Norman is the better of the two, giving the salt and pepper haired actor his first multilayered role in years. Norman functions like a 90’s Woody Allen, complete with the a frantic, inappropriate and nervous leading character. Gere wouldn’t have been my first choice reading Norman on the page, but the Golden Globe winning actor elevates this homeless man of mystery beyond some desperate archetype. Gere isn’t the only one turning in a notable performance in this comedy/drama; Lior Ashkenazi (Footnote) is equally if not more impressive as the future prime minister of Israel. The editing is problematic, the narratives wanes structurally, certainly not a film for everyone, but the performances and sense of mystery keep this unique little story moving forward.
In the first act, Norman Oppenheimer (Gere) just needs to get his foot in the door with a prominent figure to set up a business meeting and make connections that will recredit him as a “fixer”. Through a stroke of luck and manipulative finesse he becomes friends with Eshel (Ashkenazi), The Deputy Energy Secretary of Irasel visiting New York on business. He buys the man a pair of expensive shoes, and they are forever connected. Years later when Eshel ascends to Prime Minister, he doesn’t forget about his friend, and they reunite in D.C. Norman uses his new-found friendship to conjure up other deals, but people start to wonder who is Norman Oppenheimer, where does he live, who are his family and who does he actually work for? The media creates a scandal for Eshel that will challenge his friendship and dedication for the truth.
Not a film for everyone, but the performances and sense of mystery keep this unique little story moving forward.
“What do you need, I’m offering my services,” Norman says on many occasions to various people he collects on the way. Keeping the audience as clueless as the people Norman comes in contact with, surprisingly works in this instance. Everyone is trying to figure out if he is just mentally unstable or really a mastermind in manipulation. He never seems to gain anything for himself beyond satisfaction that certain people now know other certain people. We cringe with embarrassment when deals don’t work out for this desperate man who dresses in decade old business fashion. The narrative wraps itself in a conundrum for the characters, forcing them to make a distinct choice of friendship or duty.
The ending is wonderfully unpredictable, just like Norman himself. The film has an odd flow, divided into four acts that offer no insight on how Norman survives from one moment to the other. We only see him having usual conversations and eating from a box. It’s eluded he spends nights in a local church, but this isn’t explored on screen. The supporting cast work well, offering various levels of aggravation with Norman, from Sheen, who is supposed to be his nephew, to Gainsbourg, the only person with a clue of Norman’s real self. His charismatic nature not only wins over people he interacts with, but the audience, and that’s a real benefit of Gere’s performance.
Final Thought
Gere surprisingly excels in an odd-ball, Woody Allen type, dramedy.