Telluride Film Review: ‘Motherless Brooklyn’

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Telluride Film Review: ‘Motherless Brooklyn’
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  • 📰 Variety
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  • 2 min. at publisher
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Just before the credits roll on Edward Norton’s “Motherless Brooklyn,” a dame looks up to her unlikely protector and sighs, “It’s funny how things turn out.” She’s referring to the mystery that has…

,” a dame looks up to her unlikely protector and sighs, “It’s funny how things turn out.” She’s referring to the mystery that has preoccupied us for the previous two hours and change — a sprawling, ambitious tale of murder, blackmail and corruption in mid-century New York to rival “Chinatown” in its complexity, if not necessarily that brain-bender’s elegance or appeal — but she could just as easily be speaking of the journey Jonathan Lethem’s novel took en route to the screen.

Cramming a message in alongside more plot than the movie can handle, Norton aims to educate audiences on the deplorable practices that undergird the Gotham we take for granted today. The trick, of course, is to wrap it up in a compelling detective story — which must have been an incredible logistical headache to make, relying on real New York locations, from Washington Square Park to Penn Station as it looked at the time.

It’s Lionel’s job to solve cases, but for some reason, no one but him seems all that interested in sorting out this one. Frank’s girl leaves his detective agency in the hands of Tony , and though the place seems overstaffed, what with Gil and Danny also on the payroll, Lionel winds up investigating what happened to Frank more or less on his own.

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