| 25th Hour
Director: Spike Lee
Cast: Edward Norton, Barry Pepper, Rosario Dawson
Duration: 135 minutes
25th Hour is not your typical Spike Lee 'joint'. Rather, it
is a focus on America in general, especially on three white
Americans, three 30-somethings at crisis points in tbeir lives.
Edward Norton is convincing, as usual, in his performanceas
Monty, a 31 year old reformed drug dealer who had begun dealing
while at school and has continued working for Russian interests
in New York City. His change of heart is symbolised by his
taking pity on a dog, who has been bashed near the river where
he walks and contemplates. In a discussion about Murphy's
Law, which his friend thinks is Doyle's law, he takes him
to a vet, calls the dog 'doyle' and the dog becomes his favoured
companion. He is in a long relationship with a Puerto Rican
American, Naturelle (Rosario Dawson) whom he suspects of turning
him in.
The 25th hour refers to him giving himself up to police for
a jail sentence after 24 hours with his friends and family.
His friends are played most convincingly by Philip Seymour
Hoffman, a seemingly repressed literature teacher who is full
of lustful feelings especially towards a provocative young
student played by Anna Paquin, and Barry Pepper as a no-prisoners-taken
Wall Street whiz-kid.
The film focuses on life in the broad scope of New York City,
from the schools to Wall Street to drug dealing. The older
generation is represented by Brian Cox as Norton's father,
a retired alcoholic fireman who owns a bar. There is also
'Uncle' Nikolai, the Russian Mafia drug lord, imprisoned in
three countries, but now dominating the trade with his brutal
henchman. The younger generation is represented by Mary, dressing
provocatively, trying to get into the club, wanting high marks
and prepared to give anything to get them, gulping down champagne,
some extasy and reacting in shocked amazement after flirting
with her teacher when he kisses her.
This is not usual Spike Lee territory. The focus is not on
African American issues but rather the broader picture of
Lee's own city which he lovingly photographs. He has a scene
where the two friends discuss the meaning of life overlooking
workmen at Ground Zero. However, there are two flourishes
in the Lee manner, a rap attack on everyone and everything,
spitting out biases against all races, migrants and religions
in the US, spoken by Ed Norton as he looks at himself in a
toilet mirror in his father's bar. There is also an over-romanticised
fantasy of the American dream at the end, spoken by Brian
Cox as he drives his son to prison.
While this ending may seem oversweet but ironic as Norton
goes to do his time, beaten by his friend so that he will
escape sexual attack in prison, there are many good things
in the film, not least the very strong performances which
bring the characters and their crises alive.
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