Edward Norton’s second directorial sally, 19 years after, KEEPING THE FAITH (2000), his long-in-gestation passion project MOTHERLESS BROOKLYN should have been awe-inspiring even it is only for the sake of its sententiously orchestrated retrospective flair, transcribed the story (in Jonathan Lethem’s source novel, published in 1999, the temporal frame is contemporaneous) to NYC in 1957, the film takes a nostalgic leaf from cinema’s archetypes of gumshoe mysteries in a by
爱德华-诺顿自编自导自演，将原著小说设定的1990年代搬到了1957年，配以大量爵士乐：
Daily Battles / Thom Yorke, Flea
Woman In Blue / Wynton Marsalis
Relaxing With Lee / Dizzy Gillespie, Charlie Parker, Thelonious Monk
Blues Walk / Wynton Marsalis
'Round About Midnight / Babs Gonzales
Jump Monk / Wynton Marsalis
Delilah / Wynton Marsalis
Motherless Brooklyn Theme / Wynton Marsalis
On A Misty Night / Wynton Marsalis
Tyrannous / Daniel Pemberton
看到大部分影评都说影片拖沓沉闷，全片2小时20分，说睡了40分钟的都有。。。所以我很想知道我是唯一一个觉得它节奏紧凑，将黑色电影亦步亦趋的紧张感拿捏得恰如其分的人吗。。。我甚至还特意确认了一下自己没有调到1.25倍速观看。影片从一开始诺顿叔销魂的抽搐和刹不住车的"if"就让我挪不开眼了，全程没点开进度条看过。
不愧是名小说改编的作品，故事主线清晰不含糊，情节错综丰满不舍得留一点白。诺顿叔果然是天才。影片想表达的冲突点确实有点多，与黑人女主感情线铺垫略单薄，以至于后来强行为爱发生的一切
“布鲁克林秘案”剧情紧张！主旋律的另一面
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