Edward Norton's adaptation of the Jonathan Lethem novel about a New York detective with Tourette syndrome stars Norton himself, alongside Bruce Willis, Alec Baldwin and Gugu Mbatha-Raw.
Appealingly reframed from its source novel’s 1990s setting into a 1957-set film noir and brimming with fine actors, Edward Norton’s long-aborning adaptation of Jonathan Lethem’s much-lauded 1999 novel is stylishly made, politically driven, musically arresting, narratively confusing and, at nearly two-and-a-half hours, far too long.
What’s striking and original right off the bat in the tense opening scene is the status of Norton’s two-bit private dick as a man with Tourette Syndrome, which makes him periodically snap his head to the side and make odd noises or issue forth with a torrent of often incomprehensible exclamations. This alone makes the manic Lionel Essrog a unique screen character, all the more so as a leading man instead of a supporting oddball type.
Lionel isn’t too good at connecting with people and the initial plot thread is soon put to the side to allow other, bigger socio-political matters and relationships to move into the foreground. In very short order, the film is spending a lot of time at a Harlem jazz club, The King Rooster, which is home away from home for Laura Rose , a community-minded lawyer.
Any number of scenes are inscrutable in terms of dramatic need or even what’s actually going on, especially in regard to Lionel’s interactions with Laura Rose. Norton has repositioned his screenplay from the book’s intent in many ways, but quite a few of the characters seem marginal or even unnecessary, beginning with Lionel’s colleagues, as they don’t much play an integral part in things.
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