This film will always serve as an example of Lee's filmmaking prowess. He stepped outside of his own cultural neighborhood and just made a movie. Undoubtedly the themes appealed to him, and I'm sure he's bumped into these characters a few times along the blood-soaked cement. But he should be applauded for taking on this subject matter. In the wake of 9-11, I think we are all taking on new subject matter.
I doubt Spike Lee will ever make a true box office hit - he's just not in to postcards or happy endings. There's always a slight hint of rage beneath the rippling surface, explosive in nature, waiting to break out. Vent, baby vent, fuck John Wayne.
Edward Norton's rap during the bathroom scene in 25th Hour has been seen in previous Lee films, but in the dark shadow of 9-11, it's perhaps more relevant than ever before. The multiple scenes of improvisation also ring a familiar chord. I think moviegoers used to the kind of filmmaking formula common in today's packages are befuddled by such moments. But as a viewer we are witnessing the creative process on screen. It's life, as awkward and uncomfortable and messy as it always has been and will be. These scenes develop personality the hard way, providing clues to the ultimate rage these tortured characters suffer from. Lee had an exceptional cast at his fingertips. To his credit, he allowed this talented crew to discover its spirit.
Edward Norton, in a largely passive role, has 24 hours of freedom remaining before taking the long trip to prison for dope dealing. He gathers his circle of childhood chums, among them a Wall Street trader (Barry Pepper) and a sexually frustrated school teacher (Phillip Seymour Hoffman). They awkwardly experience one final night of camaraderie at a New York nightclub. During the evening, each character will reveal their frustrations, their lives defined by lost dreams and disappointments. Shell shocked, they reside within the missing shadows of the World Trade Center (Lee's opening credit sequence is stunning), their angst rooted in opportunities now forever lost. These moments ring with emotional truth, haunting and heartbreaking, born of wisdom attained through pain.
I found the moments with the Russian Mafia to be far too cliched, where moody criminals spout passages of pseudo street wisdom to cheer up Norton's character. I expected Marlon Brando to make an appearance with a mouth full of Kleenex. The scenes are too conventional, though provide a sense of foreboding for Norton's uncertain future.
25th Hour has so much to do with regret and loss. In some way, each character has exploited freedoms which exist in our unique American society. They have abused the ideal. Following the terrorist bombings of New York, there are now emotional debts which must be paid. Like Edward Norton's character at film's end, we are battered and bruised, our crimes perhaps rooted in having taken our credulous utopia for granted.
Article comments
1 - Chris Puzak
Actually, Lee's previous movie, Summer of Sam, had no black characters in it either, so The 25th Hour wasn't exactly a big surprise. They were both excellent movies though.
2 - Jim Carruthers
Damn, you beat me to it, I was going to mention "Summer of Sam", but "Jungle Love" is about a mixed race relationship, so that half-counts.
Wouldn't you love to see Scorsese and Lee in a spelling bee, just to see who's head would explode first (refereed by Christopher Walken, of course)
3 - visualsimplicity
25th Hour was a fairly good film, but even then I still found myself slightly insulted by it. It was made in such a way that it was as if it demanded that I sit down watch it and be amazed by it's profoundness. I suppose it appeared cocky to me.
4 - Aaron, Duke De Mondo
I have yet to see 25th Hour, although i've been meaning to since it came out. Too many Lenzi cannibal flicks to endure first, i guess.
This was a great review, Chris, as ever. Challenging and thought-provoking.
I really didn't enjoy Summer Of Sam. Thought it was bloated nonsense, although Adrian Brody was amazing, much better than when he was The Piano Player or whatever.
Apart from SOS, the only other Lee flick i felt underwhelmed by was School Daze, which at least was interesting.
Good work Chris.
5 - Aaron, Duke De Mondo
Chris, i jsut finished watching this. It finally got off my screen select list and arrived in the post. I thought it was utterly brilliant, with enough emotional punch (literally) to make up for the slices of slightly indulgent fare. I think its his most accomplished film, although its usually best to wait a day or two befroe deciding. At the minute, im awe-struck. Even Do The Right Thing didn't affect me the way this did. Brilliant stuff.
6 - Chris Kent
Thanks for your comment Chris Puzak. Summer of Sam did indeed focus on a group of Italian Americans, but it also had multiple black characters, Hispanic characters, hell it was a patchwork quilt of New York during the summer of 1980. It was a Spike Lee film (and an interesting one) which did not deal exclusively with the black race, however, it also did not deal exclusively with the Caucasian race....
7 - Chris Kent
Jim Carruthers my fine Canadian friend, to say Jungle Love deals exclusively with the Caucasian race is a pretty shaky stand, but if you would like to make it, be my guest.....
8 - Chris Kent
Visualsimplicity,
Some films strike people in different ways. Spike Lee is certainly cocky, but I would say 25th Hour is his least "cocky" film......
To me, a "cocky" film would spell disaster for any filmmaker, and 25th Hour is most certainly not a disaster.....
9 - Chris Kent
El Senor Duke,
As usual, your comments are appreciated. Thank you my friend. I considered discussing additional Spielberg films and Lee films, which would have been relevant, but decided to keep it simple. I am am really pleased you enjoyed 25th Hour as much as I did.....Thanks!