Norman

This is my first time posting a review, but I felt that this picture in particular needs the introduction that I can give to it:

When initially asked if I would recommend this film I responded, "Ah, recommend? ... I don't think so." In retrospect, I think that it can be appreciated, provided that one understands the viewpoint of its Israeli writer/director.

I'll digress briefly to address the elephant in the room: Richard Gere. I was initially offended that he was allowed to (and that he had the gall to) play a Jew, but he was actually very good in the role. Without chewing the scenery, he showed that he's a talented actor who can "just go into character," and for him "less is more."

Now, there are two main points I think every viewer needs to know: First, it's a very Israeli movie (and that's what it is); you either know what that means or you simply do not. And, secondly, Israelis are looking for "the message" or "the lesson" of the film, which isn't clear, and most complain that "it has no plot." Non-Israelis, on the other hand, are left asking themselves if there are gaping holes in the film that are just not filled in, and thus find it "very confusing" or "totally unrealistic." I, however, understand what the director is going for. He's seeing Israeli politics through the eyes of 90% of Israelis (who all want pretty much the same thing: "to part with the Arabs"). Through that lens, he presents the image of an ideal Israeli political candidate who's actually capable of making a difference (i.e. "peace"), and when the wheels start moving to oust him, as they do in Israel with any successful politician, our attention is focused on the internal conflict of his "Diaspora Jewish businessman" vis-à-vis whether he can be altruistic enough, or just desperate enough, to realize the greater picture and appreciate the sincere relationship he has with this great scion, and perhaps to be ready to give up the short-lived glory he can finally reap from these events and even to fall on his own sword for the sake of the greater good.

Once I realised what it was, I sat back with no vested interest in the outcome and just enjoyed it like a foibled fairytale (or a story submitted by a child) portrayed onscreen by an A-list cast.

Without actively recommending it, I'm just telling the public what it is. A fourth-to-sixth grader's story (including that child's perception of reality and wishful thinking) presented by an A-list cast ... in which, if any of it were to happen then this is actually how it would play out. When you accept that this is the case, that you're missing nothing and that this is how Middle East politics actually plays out on the ground (that's right, you're not missing anything, this really is the circus of politics in Israel as it's portrayed in this film), then maybe you can sit back and allow yourself to enjoy it too.

This film tells the story of a consultant in New York, who plants seeds in the future by helping others. One day, he buys a pair of shoes for a diplomat. Years later, the diplomat becomes the head of state, hence he reaps his rewards.

"Norman" was called "Oppenheimer Strategies", which is a way more interesting name. "Norman" sounds bland and generic, and I wish they have stuck with the original name which is more mysterious and thrilling. Anyway, the plot is actually engaging and mysterious at the same time. At first, I find Norman a compulsive liar, but then I begin to think he might be genuinely helpful and kind. The ultimate culmination is unexpected, and makes me really think about Norman's actions and motivation behind the action.

If there is a theme in Norman: The Moderate Rise and Tragic Fall of a New York Fixer (2017) it may be that sycophantic fixers are everywhere. They are the loners who gravitate towards successful people, offering favours, dropping names, and arranging introductions to ingratiate and elevate themselves. They are driven by self-interest and thrive in communities of self-interest. Politics is full of them.

The 'fixer dynamic' drives the film's titular character, Norman Oppenheimer (Richard Gere). He is a lonely middle age Jew without visible means of support except for being a life-size parasite on other people. The archetype of a pathological liar and dreamer, his modus-operandi could be labelled corrupt in an ethics debate: he flatters, panders, and gives gifts to those richer or more powerful, always manouvering for return on investment. By chance, he latches onto low-ranking Jewish politician Micha Eshel (Lior Ashkenazi) and gifts him a pair of outrageously expiensive shoes. They lose contact, but Norman has bought the right to drop his name anywhere. Three years later, Eshel is elected Prime Minister of Israel and Norman attends the celebrations. They re- unite and Eshel repays Norman by inviting him into the tent of influence where he is quickly out of his depth. As an inveterate fixer, he builds a complex web of promises that mostly cannot be delivered. While he does some good for some people, his house of cards eventually collapses and we are invited to judge where moral culpability lies. For every successful Eshel there are scores of Normans.

Richard Gere's superbly enigmatic characterisation of Norman is the heart of this dialogue-driven film. He is irritatingly unlikeable, like a fly on a hot summer day, yet somehow endearing. He is arrogant yet vulnerable; desperate for acceptance yet with few admirable attributes. His story is whimsically satirical rather than funny and at times it wobbles precariously on the inter-personal dynamic between two unpleasant stereotypes, Norman and Eshel. Some filming gimmickry, like split screens and freeze action scenes, is unhelpfully distracting and two hours is a long time for a character study. But with clear echoes of Woody Allen-esque existentialism, this film outs the fixer caricature that feeds voraciously in circles of influence. In professional domains they are called lobbyists.

Probably best - so many irritating aspects to this film - the lack of translation was the icing on the cake..... Not a decent character to be found in the entire film.

So, I understand what a Hollywood fixer is, which gave me an understanding of what Norman does, although I'm still a little confuse on how his version of being a fixer makes any money, but that's one of the points of the film. Richard Gere plays this guy who likes to help people out. He likes to connect the dots and do favors for people and get favors in return, so he can do more favors for more people. It makes his life have meaning. Norman tends to over exaggerate his friendships with some people and the perks they come with as a way to connect with others, but as he finds out, some circles can get you into big trouble when you embellish too much.

This was a good role for Gere, he made Norman a very interesting man to watch. Charismatic and witty even when the chips were down. A very good performance. Also like Hank Azaria in the film as an up and coming fixer who brings Norman face to face with himself. Very amusing.

It's a very New York movie. Really loved how the film is centered around a section of the Upper West Side and never leaves it

Another tone setter was the music. The score was beautiful and lively. Not only that but they had a few scenes of the temple choir singing songs in Hebrew. It was really cool.

Norman, makes for a good flick. Nicely paced and never boring with Richard Gere still pulling off an interesting leading man.

Fun to watch.

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