hotstar Motherless Brooklyn Online Full Movie
writer - Jonathan Lethem
Runtime - 2H, 24Minutes
Edward Norton
Gugu Mbatha-Raw
Genre - Drama, Crime
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Lionel (the main character) seemed perfect to me in every way. The downside is the simplistic justification for Paul's actions and even Moses' fear. For a crime theme, it lacked a better overall psychological argument. The rest of the aspects were just regular.
Something's missing in, and about, Motherless Brooklyn. A great cast, a likable lead, true-to-the-period (Fifties) cinematography. But somehow the film misses.
The story is Polansky's 'Chinatown' reset in New York City in The Fifties. Both involve big-city power and greed. Instead of water being the treasure worth fighting over, in 'Motherless' it's real estate (and a thinly veiled Robert Moses' attempts to grab it all. In both films we've got a private eye attempting to unravel the maze of deception. In both films there's a woman in trouble, in both films the question of parentage plays a large role. So then why does Chinatown work while Motherless doesn't?
1. Gugu Mbatha-Raw as the film's damsel in distress; she's wooden. I'm sorry, but that's true.
2. Edward Norton's hero Lionel. He suffers from Tourettes Syndrome. He is full-time tics and shrugs and out-of-control shouts. The question is, What does this add to the story? The answer, Not one thing.
3. Edward Norton as Director. The film feels flabby, slow, unsure of its pacing. The story is too far in the background, the number of characters too many, given that few of them make a difference in the story's resolution.
I brought a lot of good will to the viewing. I'm a big Ed Norton fan. Likewise Alec Baldwin and Willem Defoe. Likewise Bobby Canavale and Bruce Willis. A lot of good will. I wanted it to work.
It didn't.
Struggled to get through even half the movie. Such a bore. Save your time for something better.
Classic Noir formula: Private eye, with lots of personal issues, uncovers intricate misdeeds in high places; excellent musical interlude by African American artists.
True fact: In the 1950s and 60s, in the name of "urban renewal" and "slum clearance, working-class communities of color were bulldozed and replaced by expressways and new high-end development,
Urban renewal sounds like promising material for neo-Noir, but unfortunately this movie offers only a feeble hodge-podge- and the pacing of the action is tedious. The movie misses the mystery, longing,dread,and suspense at the heart of Noir. References to Noir can't substitute for the real thing (e.g., homage to The Third Man- oh, look, there is the shadow of Orson Welles. Norton seemed to be referencing Dustin Hoffman in Rain Man and Midnight Cowboy. We are constantly being reminded of better movies in a way that distances us from the plot and the characters of this one. And the. "Dominique Strauss Kahn" thematic was handled in a clumsy and borderline offensive way...
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