Post by taxidriver on Jan 3, 2006 8:22:05 GMT -5
I’ve only seen three Spike Lee films: Do the Right Thing, Summer of Sam, and this, an adaptation of David Benioff’s book of the same name. The first two did not disappoint, and the third is no exception; as well as being a great effort from everyone involved, it was also the first major feature to be shot in NYC post-9/11. Lee is all too aware of this, and he plays on themes of just deserts and redemption by comparing the film’s protagonist to America as a whole. Already I can hear you wincing as you imagine a preachy flick about how we’re irresponsible, uncaring people who are ruining the world. Well, no actually. Despite Lee’s infamous political messages, he handles 25th hour with a surprising amount of subtlety, never letting politics get in the way of the story.
And what of the story? Very simple, really. Monty Brogan, a chic drug dealer, has been sentenced to seven years in prison, and the film depicts the last 24 hours before he goes away. Along the way, he will resolve issues with his father, his best friends, his girlfriend and his boss. The present is spliced with the past, and we learn how Monty got to be where he is today. What makes this film a joy to watch is that Lee directs with less stylish tricks than usual, instead just letting the camera linger and the drama unfold. It’s heartbreaking getting to know Monty, who is definitely the most sympathetic character in the film, a man who made bad choices and is now paying the price.
And this is where 9/11 comes in. you can’t help but notice the references: the haunting opening titles are shot in and around Ground Zero, and in one excellent scene, Monty’s two best friends discuss his fate in an apartment overlooking the vast landscape of debris. Monty, a kid from the block with charm and charisma, is America, and having got away with so much, it is time to pay. However, Lee does not judge Monty. Although Monty is angry with himself, he does not show heartfelt remorse, nor wish to turn back time. Instead he is meditative about the whole thing, resigned to his sentence.
Norton shines as Monty. He gave all his earnings on Red Dragon to fund the film, and even wore a prosthetic widow’s peak to imitate the character from the book. His commitment to the project shows; he is perfectly balanced throughout. What makes us sympathise is the way he acts so nice and charming to everyone, but in reality he is dying inside, realising he will lose the best years of his life. Only in one spectacular monologue does he voice his anger. The so-called “Fuck you” speech (the word appears about 40 times in five minutes) is a voiceover of a tour of all the different cultures in New York. From the faux-Italian gangsters, to the botoxed elite, to Jesus Christ himself, Norton rails against pretty much everyone around, including, inevitably, himself. The montage, while supposedly condemning the NYC community, actually serves to highlight the rich diversity of the city, a complex tapestry of peoples.
The rest of the cast is great too. Brian Cox demonstrates why he should be in every film ever made, while Barry Pepper and Phillip Seymour Hoffman have a great repartee as Monty’s best friends. The female side is strong as well: Rosario Dawson, an actress I have been unsure of, is great as Monty’s foxy girlfriend Chantelle, who may or may not have ratted him out. Anna Paquin is quite entertaining as a pupil of Hoffman’s who has the hots for him. The cast interact nicely, all revolving around Norton in one way or another.
The direction is Lee at his most self-assured, but it’s good that he chose to move away from the almost psychedelic colours and moves of his earlier works, instead using minimal camera moves and muted colour schemes to reflect Monty’s melancholy. The music is a great mix of score (Terence Blanchard on top form, orchestral and jazz) and club (Cymande, Liquid Liquid and Big Daddy Kane, to name a few), although not too sure about Springsteen at the end.
GOOD:
• Excellent performances all round, especially Norton.
• Tight script, reflecting quality of original novel.
• Lee’s direction is not too intrusive.
• The dog. He’s lovely.
• Great selection of music, especially in the climactic revelation sequence in the club’s basement.
SO-SO:
• Fans of super-kinetic Spike may be disappointed by the somewhat subdued direction.
• It’s long – at 129 minutes, some may be bored by the slow pacing.
BAD:
• Some may find the 9/11 allegories too much.
• The “Fuck you” scene, despite rousing the audience, is rather similar to other sequences in other in other Lee films.
OVERALL:
9/10. One of those underrated films that is in danger of sinking into obscurity due to a mix of circumstances. So go and see it now to avoid that! It’s Spike Lee doing drama like the pro that he is, revelling in the New York sights and sounds, but not in a preachy, in-ya-face way. Definitely recommended. (And I’m dried up and cynical at the age of 17, so that’s saying something.)
And what of the story? Very simple, really. Monty Brogan, a chic drug dealer, has been sentenced to seven years in prison, and the film depicts the last 24 hours before he goes away. Along the way, he will resolve issues with his father, his best friends, his girlfriend and his boss. The present is spliced with the past, and we learn how Monty got to be where he is today. What makes this film a joy to watch is that Lee directs with less stylish tricks than usual, instead just letting the camera linger and the drama unfold. It’s heartbreaking getting to know Monty, who is definitely the most sympathetic character in the film, a man who made bad choices and is now paying the price.
And this is where 9/11 comes in. you can’t help but notice the references: the haunting opening titles are shot in and around Ground Zero, and in one excellent scene, Monty’s two best friends discuss his fate in an apartment overlooking the vast landscape of debris. Monty, a kid from the block with charm and charisma, is America, and having got away with so much, it is time to pay. However, Lee does not judge Monty. Although Monty is angry with himself, he does not show heartfelt remorse, nor wish to turn back time. Instead he is meditative about the whole thing, resigned to his sentence.
Norton shines as Monty. He gave all his earnings on Red Dragon to fund the film, and even wore a prosthetic widow’s peak to imitate the character from the book. His commitment to the project shows; he is perfectly balanced throughout. What makes us sympathise is the way he acts so nice and charming to everyone, but in reality he is dying inside, realising he will lose the best years of his life. Only in one spectacular monologue does he voice his anger. The so-called “Fuck you” speech (the word appears about 40 times in five minutes) is a voiceover of a tour of all the different cultures in New York. From the faux-Italian gangsters, to the botoxed elite, to Jesus Christ himself, Norton rails against pretty much everyone around, including, inevitably, himself. The montage, while supposedly condemning the NYC community, actually serves to highlight the rich diversity of the city, a complex tapestry of peoples.
The rest of the cast is great too. Brian Cox demonstrates why he should be in every film ever made, while Barry Pepper and Phillip Seymour Hoffman have a great repartee as Monty’s best friends. The female side is strong as well: Rosario Dawson, an actress I have been unsure of, is great as Monty’s foxy girlfriend Chantelle, who may or may not have ratted him out. Anna Paquin is quite entertaining as a pupil of Hoffman’s who has the hots for him. The cast interact nicely, all revolving around Norton in one way or another.
The direction is Lee at his most self-assured, but it’s good that he chose to move away from the almost psychedelic colours and moves of his earlier works, instead using minimal camera moves and muted colour schemes to reflect Monty’s melancholy. The music is a great mix of score (Terence Blanchard on top form, orchestral and jazz) and club (Cymande, Liquid Liquid and Big Daddy Kane, to name a few), although not too sure about Springsteen at the end.
GOOD:
• Excellent performances all round, especially Norton.
• Tight script, reflecting quality of original novel.
• Lee’s direction is not too intrusive.
• The dog. He’s lovely.
• Great selection of music, especially in the climactic revelation sequence in the club’s basement.
SO-SO:
• Fans of super-kinetic Spike may be disappointed by the somewhat subdued direction.
• It’s long – at 129 minutes, some may be bored by the slow pacing.
BAD:
• Some may find the 9/11 allegories too much.
• The “Fuck you” scene, despite rousing the audience, is rather similar to other sequences in other in other Lee films.
OVERALL:
9/10. One of those underrated films that is in danger of sinking into obscurity due to a mix of circumstances. So go and see it now to avoid that! It’s Spike Lee doing drama like the pro that he is, revelling in the New York sights and sounds, but not in a preachy, in-ya-face way. Definitely recommended. (And I’m dried up and cynical at the age of 17, so that’s saying something.)
