Norman: The Moderate Rise and Tragic Fall of a New York Fixer

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.

Good film, first chapters might be boring but from the third i really liked it and richard gere was nice

Joseph Cedar's English-language, U.S.-Israeli co-production starring Richard Gere does not disappoint. Gere does a great job playing the titular role, a Manhattan consultant who has a knack for enticing powerful people. He meets a prominent Israeli politician in New York, and ends up offering to buy him an expensive pair of shoes. Later, the man becomes Prime Minister of Israel, setting the stage for major conflict. The script in this film is excellent. It is both witty and sophisticated at the same time, perfectly blending complexity and playfulness. Such a blend also manifests itself in the film's tone, which is handled very well given the film's themes and subject matter. If there's one complaint I have about this film, it is that of the pacing: the four-act structure of the film could have been paced better, as the second and third acts seem to have relatively little substance relative to the rest of the film. Other than that fairly minor complaint, this is most certainly a great film. Definitely recommended. 8.5/10

Full title of this Joseph Cedar movie is Norman: The Moderate Rise and Tragic Fall of a New York Fixer. Norman the person is not very likable. He stands too close when he talks to you, he's relentless in searching for an angle, he's quick with the half-to-full-lie. But in Richard Gere's nuanced portrayal, initial discomfort turns to something more like sympathy. How he's treated by the people who see him for what he is becomes simultaneously justified and painful. The sympathy is possible because Norman isn't angling to benefit himself, at least not financially. He only wants to feel important, that he matters in the world, yet he remains "always just a few capillaries removed from the beating heart of power," says A.O. Scott in the New York Times. When he has a setback, and he has plenty of them, you see the gears turning until he hits a way to make the best of it. When Norman "bumps into" an Israeli diplomat and does him a favor, right there you know the seeds of calamity are planted. I won't say more about the plot, which is complicated in the delicious way that only someone like Norman could complicate it. Israeli actor Lior Ashkenazi plays the diplomat; Michael Sheen plays Norman's put-upon nephew; Steve Buscemi as the rabbi of a financially distressed congregation is "a marvel of wit and off-kilter humanity," Scott says; and Manhattan plays itself, beautifully.

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.