“The opposite of compromise is fanaticism and death,” Micha Eshel (Lior Ashkenazi)
Give Richard Gere an Oscar. His work of late has been superlative, from a corrupt Wall Street titan (ARBITRAGE) to a mentally scarred homeless man (TIME OUT OF MIND) he has been taking risks as an actor with ambitious projects. NORMAN, originally known by the unwieldy, yet interesting, NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER, has Gere turn uncomfortably obsequious. There is a scene where his titular Norman Oppenheimer insists on buying outrageously expensive shoes (a four figure price tag) for a minor politician. Cringeworthy to witness such subservience, but later the favour pays off when the politician’s star ascends – epitomising the film’s complexity and awkwardly tense atmosphere.
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