Sister of Mine
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Sister of Mine

Sister of Mine there are two things to know about Edward Norton’s “Motherless Brooklyn.” One, this is a film Sister of Mine in service of a great novel by a director who knows how great that novel is. And two, this is a film about great acting by an actor who knows what makes acting great.

These two things don’t always go together. Not all actors know good books. Not all good books make great movies, or even good movies. Sometimes the writing is just too big and weighty and its broad loftiness holds the film down, never giving it a life of its own because the words are just so beautiful — who wants to cut any of them?

Edward Norton took 19 years to bring this film to life, 19 years of a career in an evolving Hollywood film industry. The book by Jonathan Lethem has been described as a “hip postmodern novel,” three words that should never be used together in a sentence but are unavoidable, apparently. Norton has removed much of that and placed the story where it actually belongs — deeply embedded in the rich traditions of American film noir.