“Motherless Brooklyn,” is what Lionel is called as a result of his having been an orphan adopted by private detective Frank Minna, played by Bruce Willis, for whom Lionel works and has great affection. When Frank is gunned down on a job and whispers a clue before dying, it falls to Lionel to follow through on the case.

The intricate plot, along lines of old-fashioned film noir and set in 1950s New York, is detailed in a screenplay written by Norton and Jonathan Lethem, based on Lethem’s book. The story with typical twists and turns and lots of action is challenging to follow.

The villain is Moses Randolph, played menacingly by Alec Baldwin with his customary powerful screen presence. Giving him the first name Moses is a giveaway linking the character to the late New York Parks Commissioner Robert Moses, who wielded power in his determination to enhance the city with elaborate building projects. The film’s Moses wants to tear down poor and black neighborhoods to achieve his shady goals and will go to any lengths to succeed. In addition, as the film reveals, he harbors a major secret.

Among those opposing him is Laura Rose, a young, light-skinned African-American woman played by the talented and intriguing Gugu Mbatha-Raw, who lives over a Harlem jazz club and with whom as the plot spins Lionel becomes close. This is also a film loaded with goons, violence and extreme danger to Lionel as he goes about his sleuthing. Meanwhile, nailing down the detective office is Bobby Cannavale as Tony Vermonte.

Norton gives an outstanding, colorful performance as the afflicted but persevering Lionel, making the most of the opportunity. As a director, in addition to successfully filling supporting roles with the right actors, he gives the film the noir look, and he has achieved some excellent settings with the aid of digital technique, creating, for example, the look of the old Penn Station.