01/22/2003 Entry:
"25th Hour - Spike Lee (2002)"

Everyone is saying this is Spike Lee's best film since Do The Right Thing, and they're all right. If it had come out just a week earlier I would have had to make room for it in my 2002 top ten, but its now on the 2003 list where it seems likely to last through the year. As an aside, I'm having an internal struggle about how to put films into specific years. I feel odd putting films in the 2002 that were "officially" released in 2002 (usually defined as LA/NY opening) when I didn't get to see them until 2003. However that makes my list seem weirdly out of synch with other lists. For instance, everyone else seems to consider 25th Hour and Russian Ark 2002 films, but I feel like I can only rank based on Chicago releases since thats where I live and how the hell else would I rank? Your guidance is appreciated, and now back to this wonderful movie which I loved.

This is the first film I've seen set in a post-911 world without being specifically "about" it. There are one or two places where Lee goes a little overboard with it (most notably the shots of Ground Zero at the end of the scene in Frank's apartment) but in general it seems to be used at exactly the level I would imagine it actually exists in New York at this time. This is exactly how I'd like to see it used, as a backdrop to current events, not the focus. The people who ignore it in modern film are doing us a disservice. I had to wonder why Scorsese chose a shot with the towers present at the end of Gangs Of New York. The whole purpose of that marvelous ending was to bring us to the present day, but I felt like it only brought us to two years ago. There has also been some commentary about how the theme of the film (Norton's character Monty facing and dealing with the results of his actions) mirrors a common theme of liberals regarding 911 (that we need to face up and take responsibility for the things we've done in the world that brought this to our shores.) It is an interesting take on the film which I hadn't thought about at the time, and it feels right to me. I would love to see some interviews where Lee expounds on the film's themes, unfortunately 25th Hour seems to be getting buried under an avalanche of no press.

The lack of press is a real shame because as Oscar contenders go, I can't think of anyone I'd like to see win for Director more than Lee (except maybe Scorsese in the sense of "it's abuot time") and any of the performances would be fine with me as well. Amazingly touching but going somewhat unmentioned is Brian Cox's portrayal of Monty's father. Their scenes together are played perfectly, with the kind of subtle emotions that one would expect in the situation. His soliloquy at the end (referred to by some as "The Last Temptation Of Monty") is one of the most moving things I've seen in quite a while, it had me in tears at one point. It was just so great, the dad willing to give it all up for his son, both of them knowing it won't happen (I really don't think there is any doubt that Monty goes to jail, and the fact that there is even discussion about it kind of surprises me.) Barry Peppers is also fantastic as Monty's friend Frank, whose conflicted psyche fuels many of the film's best scenes. "You look like a fucking optical illusion." That was hot.

Lee's directing and cinematography gags in this film are nothing new for him, although here they seem to serve the narrative rather than the other way around. His use of repeated scenes for emotional impact fits well. The section in the dance club is prety amazing from a technical/directing standpoint though. Lit beautifully by DP Rodrigo Prieto (who has had a busy year also lensing Frida and 8 Mile), the scenes burst with energy and life. They feel exactly how you would expect that room to feel. One point that stands out in my mind is Monty up in the balcony looking down and the dance floor watching Naturelle, and there are four or five quick freeze frames. They barely register, it was exactly what watching a dance floor with strobe light looks like. A great subtle technique used for maximum value.

The only real bummer about the film for me was Terence Blanchard's bombastic omnipresent score, which never seems to let up and only serves to make the above-mentioned Ground Zero scene that much more overbearing. One of the best scenes in the film is at the end, when there is no sound at all as Frank beats the shit out of Monty. Also, I wasn't getting into Philip Seymour Hoffman's sad-sack performance as Monty's friend Jacob. We've seen this role from him a thousand times, and I much prefer him in roles like he had in Punch-Drunk Love.

Go see this one before it disappears and everyone who hasn't seen it forgets about it.

Replies: 3 comments

yeah, i don't think there's any doubt he goes to jail. what did you think about his idea to let frank beat the crap out of him? how much is that really going to help him? once the face heals...i dunno. he might've bought himself a week or two and that's it. Posted by socialretard @ 01/22/2003 11:50 AM CST

Well, Norton seemed to be claiming that it is all about the first day. That if you can survive initial impressions then you have time to make a place for yourself. He kept saying that, its all about the first day. That seems to make a certain amount of sense to me. Posted by GDD @ 01/24/2003 07:45 AM CST

...Or, as MD'A has pointed out, maybe Norton's character just wants to be punished by someone close to him. And, in my opinion, I don't think there's any doubt he's headed to jail. There would be no point to the extended fantasy sequence if he wasn't. Posted by Scott B. @ 01/25/2003 02:41 PM CST