CHICAGO – Patrick McDonald of HollywoodChicago.com audio review for the doc series “Charlie Hustle & the Matter of Pete Rose,” about the rise and bitter fall of the major league legend, the MLB’s all-time hits leader, only to be banned from the sport because of gambling. Streaming on MAX and on HBO since July 24th.!—break—>
Dan Byrd Shines in Coming-of-Age Gem ‘Norman’
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![]() Rating: 4.0/5.0 |
CHICAGO – His eyes are at once weary and sardonic, brooding and vulnerable. He doesn’t know how to cry for help, apart from crying wolf. He resists the spotlight when it’s placed upon him and yet still craves attention from his peers. He’s deeply cynical about life in general, yet is prone to falling for the sweetness of a pure-hearted soul. And he’d probably be well adjusted if it weren’t for the enormous weight on his shoulders.
He’s Norman, the titular subject of Jonathan Segal’s terrific indie dramedy, which is finally making its theatrical debut after garnering acclaim on the festival circuit. Unlike many high school outcasts in modern film, Norman has the look, the behavior and the attitude of a real teenager. His uncommon intelligence and natural wit are apparent in his dialogue, but he’s not scoring hyper-stylized punchlines like Juno. Segal rarely pushes the comedy in a way that feels forced, allowing the laughs to emerge organically from the material.
Much of the film’s success hinges on the central performance by Dan Byrd, a young actor best known for playing Travis Cobb on “Cougar Town.” His work here is utterly entrancing. From the moment he rips open the shuddering door of his locker and shoots a morose glance at its contents, he has the viewer thoroughly absorbed in his moment-to-moment experiences. As he observes his father, Doug (Richard Jenkins), gradually succumb to stomach cancer, the audience shares Norman’s mounting anxiety about the sudden crises that could befall him at any moment. Life at home is a ticking time bomb, while school is a melancholy dirge. When Norman’s teacher (a very funny Adam Goldberg) takes an interest in him, the debut script by Talton Wingate refreshingly avoids the usual feel-good clichés. The teacher is so convinced that he’s acting on Norman’s best interest that he ignores his student’s pleas, while attempting to transform him into an inspirational beacon for his peers. Norman simply wants a normal life for himself, but the escalating stress at home forces him to make on-the-spot decisions usually reserved for adults. His desperate efforts to separate his private struggles from the classroom come to a grinding halt when his best friend angrily interrogates him about his whereabouts. Yet instead of coming clean about the hospital trips he takes for his father, Norman spouts a lie that threatens to derail every relationship he holds dear.
![Emily VanCamp gives Dan Byrd a hug in Jonathan Segal’s Norman. Emily VanCamp gives Dan Byrd a hug in Jonathan Segal’s Norman.](http://www.hollywoodchicago.com/sites/default/files/norman_014.jpg)
Emily VanCamp gives Dan Byrd a hug in Jonathan Segal’s Norman.
Photo credit: North by Northwest Entertainment
With his father’s illness a mystery to his peers, Norman claims that he has stomach cancer and has little time left to live. This comes as startling news to the student body, particularly Emily (Emily VanCamp), the girl who instantly won Norman’s heart with her kindness, charm and love of Monty Python. Emily is such a beauty that it’s a little hard to buy her status as a less-than-popular girl in school (the indifferent reaction to her adorable theater audition is improbable in the extreme). Yet VanCamp is too good an actress to settle for a one-note love interest. Her character initially appears angelic but is not without her own needs and expectations. She demands that Norman be honest with her and doesn’t understand why he avoids taking her home. Their first make-out scene nails the awkwardness of first-time lovemaking, as Norman shyly admits that he’s “never been advanced on before.” A tangible spark ignites between both actors, especially in a quietly touching scene where Emily reveals the depths of her feelings for him. Byrd beautifully conveys his character’s tangled feelings of excitement and guilt, while VanCamp proves that she’s still capable of lending credibility to a beguilingly benevolent role, in light of her splendidly diabolical turn on ABC’s “Revenge.”
Though the romantic subplot is relatable and endearing, the real heart of the picture lies in the scenes between Byrd and Jenkins, one of America’s finest character actors still perched at the peak of his powers. Anyone who’s ever cared for a loved one stricken by illness will be able to identify with Norman’s fears that threaten to consume every inch of his existence. His father’s self-imposed isolation and crippling depression are partly due to his diagnosis, and partly because of his wife’s sudden death in a car accident. The family appears to be irrevocably broken beyond all measure, yet Wingate and Segal allow humor and warmth to materialize even in the most dire of circumstances. Jenkins delivers some of the best work of his career when acting opposite Byrd, who’s never more mesmerizing than when he’s wordlessly regarding his ever-fading dad through a haze of confusion and despair. The love between father and son remains constant, yet the strain caused by Doug’s increasing deterioration (and disinterest in searching for a cure) forces Norman to live for both of them. The toll of functioning as the sole caregiver can easily make one feel as if they are going through the physical turmoil themselves, and that is ultimately what “Norman” is about. The fact that it manages to be as hilarious as it is moving is a remarkable achievement.
![Director Jonathan Segal on the set of his terrific new film Norman. Director Jonathan Segal on the set of his terrific new film Norman.](http://www.hollywoodchicago.com/sites/default/files/norman_002_2.jpg)
Director Jonathan Segal on the set of his terrific new film Norman.
Photo credit: North by Northwest Entertainment
Two other films this year share a similar appeal. One is Azazel Jacobs’ “Terri,” which was an even more offbeat portrait of a teenage outcast, yet benefited greatly from the nakedly authentic work of its lead, Jacob Wysocki. The other is Jonathan Levine’s “50/50,” an under-appreciated gem that has quickly emerged as one of year’s most unlikely feel-good comedies. As its young protagonist attempts to rid his body of spinal cancer, the filmmakers mine his predicament for laughs without ever once trivializing the subject matter. Both “50/50” and “Norman” may prove to be a great source of catharsis and comfort to people suffering through the daily trials brought on by disease, where sometimes the only option is to laugh. For audiences merely seeking a fine evening of entertainment, “Norman” also fits the bill. The final act does unfold more or less as one would expect, and there are a couple tonal missteps, such as the rather jarring comic relief provided by Camille Mana, who seems to be in an entirely different film altogether. Yet in a year overcrowded with portraits of teenage loners, “Norman” is one of the very best.
![]() | By MATT FAGERHOLM |
Norman
This movie is great in my book!
Norman
I really enjoyed this movie. To me, it was great!
Norman
man Norman is a very cool kid