Top 82 Things I Love about 25th Hour (that no one talks about)

Spike Lee’s 25th hour is one of the best, most important films made so far this century. It’s a movie I’ve talked about a lot on this blog, but this post a comprehensive dive into the things I love most about the movie. As Lee’s BlackKklansman currently makes waves in theaters, here’s a look into one of Spike Lee’s masterpieces.

This film still holds the award for “Best Movie with Horrifying Opening Sound.”

But then BOOM, the sound of the 1970 Dodge Super Bee explodes onto the film. Love that jolt.

Also love that the car isn’t being driven on a perfectly flat road. The road has puddles, awkward bumps. It’s a New York City road.

The cinematography of this film is astounding, and I’m going to talk about it a lot. Here’s a good example: look how the grain and the desaturatured color of this scene help separate it from every other scene in the movie. It’s the furthest flashback, and certainly one where Monty (Edward Norton) still has his “innocence.” It’s just so raw looking. Love what DP Rodrigo Prieto did in this film.

The size of Kostya’s (Tony Siragusa) flask.

I LOVE the way Norton carries Monty’s bravado, especially in the flashback scenes. Equal parts charming, commanding, and funny. He is so New York.

Spike Lee and his longtime editor, Barry Alexander Brown, are huge fans of quickly showing the same thing multiple times, as it’s happening. They usually save these quick double cuts for when two characters embrace, but I love the way it’s utilized here, as we see Monty jump four different times when Doyle barks at him. It’s a great way to establish that this isn’t going to be any sort of conventional movie.

Monty kicking his trunk car shut.

I think context is one of the most important aspects of film discussion. A film’s artistic merits should stand on their own, but remembering where a film came from, and when and how it was made are hugely important. After 9/11, no film or TV show wanted to acknowledge the harsh realities of 9/11. Everyone was scrubbing the event out of their content. There are dozens of examples of this. A shot of the World Trade Centers was taken out of the Spider-Man trailer, a shot of the Towers getting struck by meteors was edited out of television broadcasts of Armageddon (which was released in 1998), the theatrical release of Training Day (which takes place in L.A., and has nothing to do with 9/11) was delayed a few weeks simply because the content of the film was deemed too intense, and on and on. David Benioff’s source novel, “The 25^th Hour,” was written before the attacks, so there is no mention of 9/11 in his text. But in making his film, Spike Lee saw an opportunity to acknowledge that 9/11 happened, and our world was never going to be the same. Spike Lee was the first filmmaker to address 9/11, and from the film’s opening credits, it’s as if Spike Lee was telling us, “I’m not avoiding this. No, fuck that. I’m going in.” I believe Lee’s audacity in this regard will be one of the highlights of his legacy.

And to see this movie in the theater, holy shit, that was an experience. The first few shots of the Tribute in Light installation are purposefully abstract, but when this shot appeared, you could hear a fucking pin drop in the theater. Everyone was stunned into silence. I remember sitting back in my seat and thinking, “Wow, we are all in for something here.”

A final note about the credits: Terence Blanchard’s music is another staple of Spike Lee’s films, and I’m hard pressed to think of a scene in which Blanchard’s music resonated more than it does here. Such power.

Love how Monty is framed in this shot. Already trapped by bars.

Nice bit of location foreshadowing here.

The way this school administrator (Michole Briana White) approaches Monty. Her body language and tone of voice is perfect. Like, “Uhh, dude, why the hell do you have a dog in my school?”

The extra few beats Jacob (Philip Seymour Hoffman) takes after Mary (Anna Paquin) finishes reading. That man is in trouble.

Acting is all about choices. What are you doing and how are you doing it. Norton’s choices are always on point, and I love how Monty is kind of out of breath in this scene. It’s like he’s nervous, anxious and afraid, all at the same time.

Ol’ Monty is about to hit the hooscow for seven years, but this is what’s on his mind right now.

Jacob’s reaction to meeting up at midnight. His face reads, “Ohh, okay, midnight. I’m a teacher, man. I haven’t gone out at midnight in like 15 years. Great.”

The fact that Jacob doesn’t care in the slightest about Mary’s grade. He just wants to talk about her tattoo. I love his delivery of this line.

This is one of the all-time great character introductions. Francis Xavier Slaughtery (Barry Pepper), red-eyed and focused, ready to kill the game. God, I love this scene.

LOVE Al Palagonia. A former stockbroker whose lightning-fast vernacular fits perfectly in Lee’s films. Also adore him as the slick sports agent, Dom Pagnotti, in He Got Game.

These glass reflections were Prieto’s idea, and they work great here. I love when a cinematographer includes an inorganic element into a scene, but it still plays perfectly. I honestly can’t wait to steal this idea for something I shoot in the future.

This exchange between Frank and Sal (Palagonia) is absolutely priceless.

This is one of my favorite lines, from anything, ever.

From book-to-screen, 25^th Hour is one of my favorite film adaptations. But, like all movie adaptations, things are going to be left out from the text. One of my favorite such things from Benioff’s novel is the internal rage Frank cannot let go of following his brief exchange with Marcuse (Aaron Stanford) here. Frank is absolutely pissed that Marcuse talks down to him, and is very tempted to jump over the table and beat Marcuse’s ass. In the novel, it speaks so well to Frank’s machismo.

Rosario Dawson never got the credit she deserved for her work as Naturelle Riviera. Naturelle adores Monty, and is so consumed by sadness that he’s going away. The way Dawson plays that sadness is so believable.

Love how Monty turns to Naturelle as Agent Flood (Isiah Whitlock Jr.) begins talking about the sofa. He suspects her already.

And Naturelle’s look here is heartbreaking. She knows where this is going.

Many people think Isiah Whitlock Jr.’s “Shiiiiiiiiit” catchphrase started on The Wire, but it actually started here. And another interesting bit of trivia, that “Shiiiiiiiiit” is something Whitlock’s uncle always used to say, so the actor found a way to incorporate it into his character here.

Gotta give up for the Goose. Lee saw NFL defensive tackle, Tony Siragusa (aka Goose) on Hard Knocks, and thought he could play Kostya. And damn if he wasn’t right. Siragusa had no acting experience before 25^th Hour, but he crushes this part.

Great line.

This is how the game traps you. It pays well, and it pays up front. And if you spread that wealth around to the people who love you, they don’t say a thing. I love how this line of dialogue says so much about Monty’s relationship with his dad (Brian Cox).

The only thing I can think to add to the infamous “Fuck You” scene is my own personal story. Again, seeing this film in the theater in December 2002 was quite the experience. And when Monty went all in on Osama bin Laden, everyone in the theater was absolutely shaken. I looked around and saw so many people’s jaws literally hanging open. I just leaned back in my seat and said, “Oh… wow” out loud. Again, no one had addressed 9/11 in a mainstream fictional film yet. This movie changed things.

Love that Monty was named after Montgomery Clift, specifically because of my favorite Clift film.

The sadness Monty’s dad has as he takes a pull from Monty’s beer. We learn later that his dad has been sober for two years, which makes this act that much more devastating.

The slight extra beat Frank and Jacob take after they embrace. There’s a hint of awkward silence in that moment, as if they’re saying, “Fuck, tonight is gonna be some night.”

The fact that Frank is brushing his teeth, and has his shirt unbuttoned, when Jacob arrives.

Jacob noticing the skin mags on Frank’s table.

The camera glides in and moves up, the music swells, and all is revealed. And then Jacob says this, because, really, what else is there to say?

One of the reasons this scene is so effective (not withholding the music and the 5 minute 36 second single take) is the chemistry between Pepper and Hoffman. It starts with their wardrobes (look how polar opposite they’re dressed) extends to their attitudes (Frank is pessimistic and angry, Jacob is hopeful and sad), and is confirmed by the actors’ acting style. I don’t believe these two men are friends. Not anymore. I think they grew up together, and the only reason they remain in each other’s lives is because of Monty. You can meet up with some childhood friends, and it’s as if no time is passed. With others, it’s just awkward. You’ve grown into different people, and you have nothing left in common. That all carries through here. This is an astounding scene, one of the finest Spike Lee has ever captured, and that is thanks largely to the strength of Pepper and Hoffman’s respective talents.

I’ve always loved how overexposed the lighting is in this scene. It’s so bright, but so cold.

Monty’s relaxed demeanor in this scene. Love the way he has his arm tucked behind the chair. He’s feigning calmness, for now.

The fact that Frank is talking himself up here with such profound arrogance, while belching out loud and eating rice with his hands. Pepper is glorious in this scene.

The couple at the next table staring disapprovingly at Frank’s burping.

If you look and listen closely, you can see that the businessman Monty talks with in the park is actually Simon (Paul Diomede) from one of the opening scenes. This so subtly conveys what junk can do to a person.

The fact that Naturelle’s friend (Vanessa Ferlito) knows Monty and doesn’t want to be anywhere near him.

Monty questioning Naturelle’s name.

Naturelle rubbing her lipstick off Jacob’s face.

Also, the way Naturelle takes a sip of Jacob’s beer, without asking. There’s an ease to Naturelle in this scene that I’ve always liked, even if I think she’s just playing pretend for Monty’s friends.

Frank showing off in front of/flirting with Naturelle. This scene helps make clear that Monty’s suspicions of Frank are valid.

Always loved this line. Nice throwback to the Humphrey Bogart film, Dead End.

The bouncer (Patrice O’Neal) unable to contain his nervous laughter as he talks to Monty about his sentence.

Love these priceless lines.

Monty strutting into the bar. How much confidence can he have left?

This is my favorite toast of any toast.

The emphasis Frank puts on his drink order. This is a guy who never stops playing.

I love how the characters in this movie speak. There’s a slickness to the dialogue that pops. There’s something about “wrap yourself in a twist” that I’ve always enjoyed.

I don’t know who Frank is trying to fool here: himself, or Monty. Such conviction from Pepper.

The freeze frames during the second dance scene.

I love how equally puzzled/horrified they both look after they kiss. Innocence lost. Oh my.

Definitely one of the best uses of Spike Lee’s double dolly shot, both cinematically and emotionally.

Another great line. It’s such a thrill to watch Frank unravel in this scene. 25^th Hour got absolutely screwed for awards, but had it garnered the attention it deserved, surely Barry Pepper would’ve been recognized.

And little moments like this are what made Philip Seymour Hoffman one of the all-time great actors. After Frank orders Jacob a drink and demands that he drink it, Jacob takes his glasses off and stares at Frank defiantly. Then he pushes the drink aside and, for a split second, wears this expression, which is equal parts frustration and sadness. That’s acting.

It’s interesting to see Monty fighting for his life as Nikolai (Levani) points a gun at him. Despite all he’s said about harming himself, and all the pain he has ahead of him, Monty wants to live.

Jacob jumping off this ledge so ungracefully.

Handheld, close-up, staring directly into the camera. What a jarring shot.

Frank’s voice cracking during this line.

Monty does everything to bait Frank into beating him. He demands Frank cash in on his promise, insults Frank, pushes him, accuses Frank of going after Naturelle, and so on. But I love that what pushes Frank over the edge is Monty hitting Jacob. Seems Frank still does have some love for Jacob, after all.

Frank out of focus in this shot.

The sound design after the beating. Only the gentle birds sing.

And the way they all say goodbye, with Monty consoling both of them. Just heartbreaking.

Oh god, his final look at the apartment. All is lost.

The only thing Naturelle can muster up the strength to say is a saddened moan. Such a believable goodbye.

Dad telling Monty the route they’ll take to prison. That’s such a dad thing to do.

Monty’s face as he looks at his dad, seriously considering his old man’s offer to help him flee.

I love this bit from Spike Lee, on his directory’s commentary track for the film: “Folks, I don’t get in helicopters. So Rodrigo had to go alone. And he told me it was good, so I said okay. I believed him, because I’m not gettin’ in the motherfuckin’ helicopter.”

Dad’s face after he takes his first drink of whiskey in two years.

The bartender sliding this woman a bottle of beer.

This coworker calling Monty his new name.

The snare drums gently pounding during these lines about being a New Yorker.

Naturelle’s hands shaking as she embraces Monty.

        

25^th Hour is a perfect and important film. And while I don’t usually pine for sequels, I always thought there was a golden opportunity to make one here, and release it in 2009, seven actual years after the first film came out. Seven years was Monty’s prison sentence, and I thought it’d be great to see where all the major players were when Monty was released (assuming, of course, that he survived his prison term). But, like Monty himself, I suppose that was just my imagination. It all came so close to never happening.

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