This is a fascinatingly real script with tight dialogue and an expansive story line

Norman Oppenheimer (Richard Gere) is a New York fixer, trying to get into the inner circle of anyone and everyone with the slightest hint of importance. It’s only when he chances upon an Israeli minister out shopping, does he  manage to take his chance. Little does he know, this man is soon to become his country’s Prime Minister.

Norman is a truly mesmerising piece of drama. The element that brings about this absolute trans-fixation with what is going on with the screen’s frame, is its use of characters interacting with Gere’s Norman. We learn so much through others eyes, particularly that of Micha Eschel (Lior Ashkenazi) who himself is brilliantly animated on the screen. His interactions with Norman and the rest of the cast is connectivity at its finest. Their combination really consolidates a great script.


Norman’s character relies solely upon how others see him, and Gere’s underlaying makes this work so well. In fact, you could even forget he is there half of the time, even within his own conversations.

This is a fascinatingly real script with tight dialogue and an expansive story line. The supporting cast understand Norman exactly the way the audience do, and this is a real triumph. It’s a story of learning and evaluating. It is made by the cast, but there is such a clear path set from the direction, that it was always going to be a production of quality. It’s sneaky, and ever so calculated.



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