Greetings again from the darkness. With the subtitle, ‘The Moderate Rise and Rapid Fall of a New York Fixer’, writer/director Joseph Cedar removes one layer of the mystery that otherwise envelops the lead character Norman Oppenheimer. We find ourselves somewhat sympathetic for the obviously lonely guy, while also accepting this as Cedar’s commentary on today’s real world obsession with networking. “It’s who you know” is the call of the business world, and few stake claim to more contacts that Norman.
Richard Gere stars as Norman, and we immediately notice his usual on screen air of superiority is missing, replaced instead by a fast-talking sense of desperation … in fact, Norman reeks of desperation. Cedar divides the film into four Acts: A Foot in the Door, The Right Horse, The Anonymous Donor, and The Price of Peace. These acts begin with Norman stalking/meeting an Israeli Deputy Minister after a conference, buying him an $1100 pair of Lanvin shoes, and then tracking their relationship over the next few years as Micha Eshel (Lior Ashkenazi) ultimately becomes Prime Minister of Israel, and is embroiled in a scandal that directly impacts Norman.
It’s a terrific script with exceptional performances from both Mr. Gere and Mr. Ashkenazi (who also starred in director Cedar’s excellent Oscar nominated Footnote, 2011). Their awkward initial connection seems grounded in reality – despite the expensive gift. These are two men who dream big, but go about things in quite different ways. Other terrific actors show up throughout, including: Michael Sheen as Norman’s lawyer nephew; Steve Buscemi as a Rabbi; Dan Stevens, Harris Yulin and Josh Charles as businessmen; Isaach De Bankole as the shoe salesman; Hank Azaria as Norman’s mirror-image from the streets; and Charlotte Gainsbourg as a disconcertingly quiet and calm Israeli investigator.
There are many interesting elements in the film – some are small details, while others are quite impactful. Examples of these include the whimsical music from Japanese composer Jun Miyake, Norman’s questionable diet, the emphasis on “Unnamed US businessman”, the twist on a simple question “What do you need?”, the recurring shot of the shoes, and the creative use of split screen montage during multiple phone calls.
Most hustlers don’t generate a great deal of success, and Norman is often an annoying, even an unwelcome presence. However, it seems clear he is well-intentioned, and despite a proclivity for fabricating facts, his sincerity makes him a somewhat sympathetic figure … one that by the film’s end, has accomplished quite a few favors that should have delivered the recognition and influence he so craved. Norman’s “art of the deal” may not be textbook, but it makes for entertaining viewing.