25th Hour (2002)

This picture illustrates that the universal is contained in the particular. It tells nothing and shows all in tiny, deliberate movements that give us just enough to work with. Though the story is simple and linear, it key moments are shown in flashbacks. It is the last day of Monty Brogan’s (Ed Norton) life before going to prison for seven years. He spends time with his dog, his girlfriend (Rosario Dawson), his Irish barkeeper father (Brian Cox), and his two oldest friends (Philip Seymour Hoffman and Barry Pepper). The viewer might wish for more of these illustrations, but that would be telling. What makes the movie work so well is that all of the secondary characters have their own internal conflicts. Each is introduced with a few broad strokes that let us know enough about who they are, but more and more is filled in throughout the film. By the end, you totally get it.

There are some beautiful little scenes in this movie. Scenes where the big picture devastation of 9/11 and the little picture devastation of Brogan’s life are contrasted. Each highlights the other and thereby creates a sharper relief. But the film doesn’t put to fine a point on it, it’s just out there. We’re staring at it and it’s staring at us. And there it is, there’s nothing to be done. That’s the problem with life.

Monty could have had a different life, but he didn’t. His friends didn’t stop him, but they feel guilty for not trying. They’re angry at him. They lash out, they sublimate. Just like people do. The universal in the particular. This film give you something to chew on, something to think about and it does it with very little pretense and no flashiness. Who ever said Spike Lee didn’t have a good eye must have been crazy.