Motherless Brooklyn - I segreti di una città

#MotherlessBrooklyn has the authenticity of a period piece like Road to Perdition combined with the corruption & intrigue of The Departed. Writer/director/actor Edward Norton paid homage to the classics in this movie. Featuring an All-Star cast, there was no way he could lose with the characters' performances. I think that is the one drawback of the film, with such a stellar cast he had to give everyone time and the movie boasts a runtime of 2:24 minutes. A bit lengthy for a crime drama/who done it because there will be slower portions of the film. However, it was never boring and the dialogue is spot-on with the snappiness of Sin City but it doesn't come across as a caricature. A very entertaining film and please don't be emo like me and cry after the opening scene.

The first time I saw Tourette Syndrome portrayed in mainstream film was, as I imagine is the same for many others, in Deuce Bigalow. It wouldn't be the last time, however, that the portrayal was an exaggeration of coprolalia (the swearing tic), the shock value of which was used for a cheap and easy laugh.

Over the years, I've seen that many people have presumptions about this neurological disorder - understandable, given the circumstances. Unfortunately, I've also learned the hard way that many of these presumptions have been heavily (and negatively) biased towards this inferred 'swearing tic', and I can't help but feel like Deuce Bigalow, or Not Another Teen Movie, or others, have helped shape this presumption.

The presumption honestly doesn't bother me, provided the person holding the belief is willing to have a conversation with me about it. I've always been open about my Tourette, and I consider myself lucky and fortunate to have won awards, or spoken with the media, or inspired others, due to my openness and having some small success with writing and acting.

What does get to me, though, is when the people aren't willing to have a conversation with me. I've been fired from jobs once it's become known that I have Tourette, even though it hasn't affected my work. I've had dates suddenly lose interest. I've been kicked out of bars when bouncers have mistaken my tics for drug use and refused to hear any explanation without threatening violence.

So when I heard that Edward Norton would be portraying someone with Tourette Syndrome in #MotherlessBrooklyn, I was excited to see what an actor of such calibre would do with such a complex condition. And I was not disappointed.

Motherless Brooklyn is great. Adapted from the novel and written and directed for the screen by Edward himself, the film is an enthralling and charming noir detective piece peppered with big names playing relatively small roles, all of whom tell a captivating story about government corruption in 1950s New York.

Edward's presentation of Tourette Syndrome was refreshing. It was delivered with a level of maturity and respect that is seldom seen on the silver screen. And even though the condition is never outright named in the film, much like his tics, it can't be hidden from anyone watching.

And yes, his character does have coprolalia, and echolalia (the tic where you have to repeat things said), and other verbal and motor tics. And sometimes it's funny. But his tics aren't just a cheap laugh for the audience - they affect his character. A PI trying to stay unnoticed on the subway who suddenly blurts out some choice words and draws attention to himself is funny. And when he's consoling someone and can't stop touching their shoulder, it's funny. And when they reassure him that it's okay, it's endearing.

And it's okay for us to laugh at the realities of life, however absurd or uncontrollable they may be at times. Tourette Syndrome is real and sometimes it's funny and that's okay. But at least in this film, we're finally laughing at it for the right reasons. And with his portrayal, which also shows some of the positives that can come with Tourette - as opposed to just the obviously stare-inducing drawbacks - I am hopeful that this may help provide the less-aware with a better, more informed presumption about this condition.

Are there actors out there with Tourette Syndrome (and who are open about it) that could have played this role? Absolutely. Like me. But I'm not Edward Norton. And are there actors out there with Tourette Syndrome (and closeted about it) that could have played this role? Absolutely. But they are also not Edward Norton.

The issue of roles going to actors who don't live with the condition being portrayed has been a hot-button issue for many, and I do think there are instances where the role should have gone to someone else. This isn't one of those times. Actors are actors, after all - their job is to convince you that they're not pretending.

Edward was convincing. And I - and I imagine a number of others with Tourette Syndrome who have been subject to unfair or illegal treatment due, at least in part, to a sub-par late '90s movie - thank him for being so. I was fortunate enough to see this at TIFF this year, where he introduced the film. Had he stayed for a Q&A afterwards, I would have loved to have said this to him in person. But I doubt I am the first, and know I won't be the last, person to say this.

I found this film satisfying overall, but one anachronism distracted me and pulled me out of the 1950s setting. Lionel's symptoms of Tourette's syndrome, repetitive verbalizations of a rhyming nature, were accepted equanimously by everyone he encountered. No one displayed annoyance, made fun of him, or called him insulting names to cast aspersions about his intelligence. His repetitive touching of people on the shoulder as he faced them ought to have caused women to back away and men to knock his block off. They did neither. It was as if these 1950s characters had been taught the acceptance of people with disabilities that was not really commonplace until the 21st century. This is the biggest mystery in the movie.

If you couldn't keep up with Chinatown's and LA Confidential's plot and continuous placing and connecting of characters' names associated with civic and political corruption then Motherless Brooklyn will have you drowning in it.

That's why I give it a seven rating. It's almost 2 1/2 hours of figuring out what's going on and who's doing it, but at least the look and sound of the movie provides a huge respite with the best sounding Bee Bop jazz and lush background theme soundtrack I've ever heard in a movie.

As a photographer I thought the cinematography was stunning in color and composition, less film noir and more '50's style New York street Kodachrome photography with compositions of odd reflections and angles interspersed smoothly with the flow of the narrative master shots in a style similar to Winogrand and Vivian Maier.

The variety of vintage '50's automobiles in pristine and brand new condition with the rich look of Kodachrome color is another treat. The sound of the rattle of car doors slamming is even accurate.

After the end of this film, I was very grateful to Edward Norton. For the wise craft of each piece of the film. For atmosphere, music, cast, for the story and , sure , the New York of 1950. And for his Lionel Essrog. A seductive film for details, performances and for something defining a fine director. Sure, many lines of plot, to generous perspective and the end as a sort of compromise. But the good use of Alec Baldwin, Bruce Willis and Willem Dafoe is just a noble virtue. Not ignoring the job of Edward Dafoe himself and good jazz, smart use of interracial problems, the abuses for urban solutions and the reasonable solution for a delicate case. So, very subjective, a film reminding the art of Edward the Great.