Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
It’s Spike. It’s Ed Norton. What more do you need to know?
Hi Harry,
I just got home from a test screening of Spike Lee's latest, "The 25th Hour" at NYC's UA 14th Street theater. The screening was described by one of the organizers as "the first time the people who paid for it were being aloud to see it." Color correction was all over the place, sound was half done and titles were non-existent.
T25H follows the story of Monty, a New York man and his last night of freedom before entering federal prison for a seven-year stretch for a drug conviction. The film is beautiful to look at, the performances are complex and moving (especially Ed Norton in the lead) and Spike Lee does a triumphant job of portraying New York in the months following 9-11.
Then why was this film a stunning disappointment instead of the masterpiece I was ready to proclaim it during it’s first half? Well, its second half. Particularly, the ending. I won’t reveal it here, but suffice it to say, it was so muddled and extraneous, ludicrous and shitty that the NY audience I saw it with went from being in the palm of Spike’s hand to almost doing a re-enactment of the riot at the end of Do The Right Thing.
On the positive, T25H has some of the best scenes ever in the Spike Lee cannon. Norton, overcome by having what might be his last meal with his dad (a recovering alcoholic bar owner who serves whisky to shell shocked fire-fighters played by Brian Cox), he goes to the bathroom and stares at the mirror, which has the words, “Fuck you” written on it. Things get interesting when his reflection starts talking to him. In a scene that recalls the racist rants of DTRT (you fried chicken and biscuit eating…), Norton tries to talk himself out of the idea that he will miss New York while upstate, highlighting all the things he hates about the greatest City in the world. Visually stunning and poetic, it made my eyes tear up. Even if they don’t fix this movie, that scene alone makes the 25th Hour worth seeing.
Spike's movie have always been insightful, entertaining and even infuriating for their themes and indulgences. This picture though is far more sober and lyrical than any of his previous things. Therefore, when it goes off track, its that much more glaring and disturbing.
Spike, if you’re reading this, I beg you. This may be a masterpiece. A bonafide piece of New York history. Masterpieces are hard. See this one through. The film is brilliant, but its not finished.
Call me
THE BROTHER ON THE WALL.
Spike may not be the most consistent filmmaker on the planet, but he is always interesting, and I certainly plan to see this one as soon as I can.
"Moriarty" out.
