`PRIMAL FEAR' LIVES ON ITS PERFORMANCES, DIES ON PLOT.

Byline: Bob Strauss Daily News Film Critic

The folks who made ``Primal Fear'' were so intent on telling a clever, complicated story that they let themselves get sandbagged by their own plot. It's like an episode of ``L.A. Law'' or ``NYPD Blue'' that could've used another rewrite - something director Gregory Hoblit, who's won scads of Emmys for his work on those and similar shows, should have recognized.

Intriguing while it unfolds, ``Primal Fear's'' primary problem is that it requires extended gullibility from both its audience and the supposedly smart operators it showcases. The film's agenda is to expose justice system corruption and lawyerly chicanery by holding up a horrific mirror image - a good idea that's only sporadically gripping here, and rather infuriating when the not-so-surprising truth is finally revealed.

Great casting, however, overcomes some of the film's flaws. Who could be better than Richard Gere as Martin Vail, a hotshot Chicago lawyer who has parlayed shrewd ambulance chasing into a fabulous practice and media celebrity? Gere, for whatever reason, oozes the kind of slick self-interest such a character demands.

He's also convincing as a selfish lover who's bound to face a former flame, prosecuting attorney Janet Venable (``Congo's'' Laura Linney), in court - and as a guy who'll use what he's learned about her personality to trip her up.

While Gere's is a case of the right actor for the part, young Ed Norton's is more like a brilliant discovery in an unlikely setting. In his film debut, Yale-trained Norton compellingly plays a sweet, stupid, street-kid-turned-altar-boy named Aaron Stampler, who for obvious reasons is the prime suspect in the stabbing death of Chicago's Catholic archbishop.

A clearly troubled youth who nonetheless radiates innocence like Vail emits smarminess, Stampler is a mesmerizing study in beguiling surfaces and roiling secrets. Norton proves himself a major and highly versatile talent here; given a slier screenplay (Steve Shagan and Ann Biderman awkwardly adapted William Diehl's novel), this could have been one of the great thriller roles of all time.

Instead, the plot follows your basic ``Jagged Edge'' pattern, with a little low-rent ``Chinatown'' tacked on. Naturally, Vail jumps on Stampler's case before the blood is dry. State's Attorney John Shaughnessy (``Frasier's'' John Mahoney), a friend and business associate of the late archbishop, throws everything he can (including Venable) against his ex-employee, Vail.

The resourceful defense attorney uses all the tricks in his formidable arsenal to win the impossible case. To prove he's not a total jerk, he has some uncharacteristic moments of compassion and self-doubt in the process. Or something like that; while good at all the superficial legal sleazeball stuff, Gere isn't exactly clear on the details of Vail's soul-searching.

A body winds up floating in the river as a result of what's supposed to be a red herring, which is still smelling fishy by the time the end credits roll. Actually, that plot line appeared to be more satisfying than the one ``Primal Fear'' finally goes with. On ``L.A. Law,'' at least, both would've been resolved, and we could have decided for ourselves which one worked better.

THE FACTS The film: ``Primal Fear'' (R; violence, language, nudity, sex).

The stars: Richard Gere, Edward Norton, Laura Linney, John Mahoney, Alfre Woodard, Frances McDormand.

Behind the scenes: Directed by Gregory Hoblit. Written by Steve Shagan and Ann Biderman, based on William Diehl's novel. Produced by Gary Lucchesi. Released by Paramount Pictures.

Running time: Two hours, 10 minutes.

Playing: Citywide.

Our rating: Two Stars.