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

Even by the end of Norman: The Moderate Rise and Tragic Fall of a New York Fixer, we don’t know much more about the personal life of the film’s protagonist than what’s revealed in the title.

That’s not necessarily a bad thing, as this captivating character study features a terrific performance by Richard Gere as a sycophant navigating the fringes of greed and betrayal on contemporary Wall Street.

He does so with a perpetual smile that masks significant inner turmoil, the extent of which is gradually and never fully reveled in the sharp screenplay by Israeli director Joseph Cedar (Footnote), making his English-language debut.

As the film opens, Norman is a slick-talking schmoozer prone to fibs and exaggerations who’s friendly but persistent in his efforts to make connections with high rollers in the political and financial world. He’s always got a sales pitch for a vague deal of little consequence. It’s unclear exactly who he works for or what his motives are, yet he’s always in the middle of the action — a “consultant” with a mysterious endgame.

His chatty encounters with strangers always seem to be more than coincidence, such as when he befriends Eshel (Lior Ashkenazi), a young Israeli ambassador, in a misguided effort to secure an invite to a bigwig party. When Eshel eventually becomes prime minister a few years later, Norman’s influence within the local Jewish community changes his profile in ways for which he’s not prepared.

Details remain foggy about Norman’s backstory, although the script drops hints about mental illness, possible family tragedies, and other explanations for his erratic behavior and delusions of grandeur.

Cedar presents an evocative depiction of wintry Manhattan and introduces some clever visual touches to ratchet up the tension. Meanwhile, the strong supporting cast includes Charlotte Gainsbourg, Michael Sheen, and Steve Buscemi.

The film knows its way around a cutthroat corporate landscape populated by schemers and scumbags, and Gere deserves credit for finding sympathy in one of them. Most of the narrative pieces eventually fit together for moviegoers with patience.

Set against the backdrop of volatile political relations between the United States and Israel, Norman lacks a broader context and its momentum sags in the middle. However, like his character, Gere always seems to be standing by, eager to right the ship.

Rated R, 118 minutes.