Acorralado por oficiales de la DEA, un narcotraficante reevalúa su vida en las 24 horas que tiene antes de enfrentar una pena de siete años de cárcel.Acorralado por oficiales de la DEA, un narcotraficante reevalúa su vida en las 24 horas que tiene antes de enfrentar una pena de siete años de cárcel.Acorralado por oficiales de la DEA, un narcotraficante reevalúa su vida en las 24 horas que tiene antes de enfrentar una pena de siete años de cárcel.
- Premios
- 4 premios ganados y 17 nominaciones en total
Opiniones destacadas
However I will admit I was a bit skeptical to whether Spike Lee could pull the film off, but when I saw the trailer I had a new found faith in it and I'm sorry to of doubted him. I saw the film yesterday and was just amazed. It's nearly flawless and is almost exactly like the novel which was written by David Benioff (who also wrote the screenplay).
The characters in the film are great. You got Monty Brogan (Norton) who's looking at seven years for drug dealing charges. It's his last day of freedom and he's just trying to tie up any loose ends before he goes. Then you got his two friends, Frank Slaughtery (Barry Pepper) and Jakob Elinsky (Philip Seymour Hoffman) who each have to deal with the fact that their best friend is going away for seven years, but also have their own demons to deal with. You also have his girlfriend, Naturelle Rivera (Rosario Dawson) who must deal with it as well and must also deal with the fact that she's suspect on who could have sold Monty out to the DEA. And finally you have James Brogan (Brian Cox), Monty's father. He's a hard working guy who obviously wished that things didn't turn out the way they did. One last night for Monty to set things straight and also make decisions.
The film sticks almost exactly to the novel, but there are slight differences. Since the novel was written in 2000 and the movie was filmed during 2002, Spike Lee and David Benioff included the mentioning of the attacks on New York and the aftermath, which I applaud Lee for. He didn't cop out and try to ignore it like others. It was necessary to capture the emotion of what New Yorkers are facing and among that, what the characters have to face with Monty going to prison. There are also slight differences and cut outs from the book to make the film flow easier, but I was disappointed with only one thing that the film didn't include. In the novel, Monty constantly thinks of how he always wanted to be a fireman. While firemen references and his father was a fireman are all mentioned in the film, it didn't really tackle Monty's regret of never becoming a fireman, like it did in the book. But the film makes up for that one thing by being terrific all around.
There are some stellar performances here. Edward Norton is always great in everything he plays, but in this film he is just excellent. The 'F**k You' scene he has when he's staring in the mirror is just excellent and I hope he gets an Oscar nomination for this role (he was robbed from one for American History X). Barry Pepper is in his greatest performance yet as the tough guy stockbroker. Philip Seymour Hoffman was great as Jakob, the high school teacher. Dealing with his attraction to his student, Mary (Anna Paquin). Rosario Dawson really made me feel for her and it was great to see more of her in a film. Brian Cox doesn't have a huge role, but he's great as Monty's father. I would also like to give praise to Tony Siragusa for his performance as Kostya. He was dead on with the accent.
So without going on any further, I just have to say that '25th Hour' was really great and is now one of my favorite films of all time.
SCORE: 9 out of 10 (excellent)
With a post 9/11 setting in NYC, the script deviates from the book (which was written pre-9/11) only slightly in order to encompass the destruction, yet the atmosphere is set with the opening credits and a slice of dialogue during the first quarter (followed by some beautifully filmed cutaways to a sodium lit nighttime clean-up crew, working in Ground Zero) which leaves the audience with no alternative but to associate the main characters' desperate tableau with plight of the city in the aftermath of tragedy. This could perhaps beg the question: What was so bad about how Monty made his living to warrant the end of his life (in effect) in the 25th Hour?
This is a question answered before it's asked, with the first scene after the opening credits showing an exchange between Monty and a disheveled wreck of a man who is quite clearly one of his customers. It's further reinforced in a later flashback to Monty's earlier days as a dealer when the same man approaches Monty dressed in business attire. The destruction of others for personal gain is something that will not - and quite rightly so - go unchallenged.
A subplot concerns blame, where Monty vilifies and accuses everyone in the city, himself included. However, later in the film, the injustice of this is rectified with a simple shot of the various people, looking upon him with sympathy the personification of this being a small boy offering a sign of friendship. Monty's own redemption begins and is represented by him expressing his brotherhood to the child in return.
Relying somewhat on symbolism and hidden meanings, there are a number of subtexts, as well as ample opportunities to read into the narrative more than is intended, but the overall message is clear: culpability is in the hands of the bearer, and with his last 24 hours of freedom sifting away and the eponymous 25th Hour quickly approaching Monty must see that blame can only lie with himself.
25th Hour's greatest achievement is in relaying a subtle, but highly relevant parable in a manner of storytelling that is both enjoyable and compelling. Very few words are wasted and the dialogue remains taught and muscular throughout. The editing, acting, score, direction and cinematography are all of the very highest standard. It could've been very easy for a film of this nature to fail by being presented as an embarrassing lecture. Thankfully 25th Hour is definitely no lecture, but a powerful and haunting movie.
That being said, fine performances all around.
Spike needs to preach less, stop trying to use "cool" camera and editing techniques, leave that to the music video crossover directors.
Spike Lee is a better director than this movie would lead someone to believe.
Monty Brogan (Edward Norton) has one last night of freedom before he's due to hand himself in for a seven-year jail term he's received for drug trafficking. He works on getting his affairs in order, whilst going on a night out with his friends Frank (Barry Pepper) and Jacob (Phillip Seymour Hoffman). He has a meal with his father (Brian Cox) and tries to steady his relationship with girlfriend Naturelle (Rosario Dawson) who he partially suspects may have had something to do with his arrest.
There isn't really a whole lot of plot to "25th Hour". There's a whole bunch of subplots, ideas and themes but ultimately, it's a character study. Monty Brogan isn't particularly likable, despite his decision to save a dog in an early scene. He's a drug dealer, as we know, with links to the Russian mob. When he first meets her, his girlfriend Naturelle is frankly worryingly young - still at school even. Throughout the film he's re-evaluating his life and wondering if he's made the wrong decisions. His friends have their own problems, but neither of them are facing jail the next night.
The film is another of Lee's love letters to New York, this one though was his first after 9/11 and you can feel the anger, defiance and pain in the film - particularly in the films most memorable scene - in which Brogan launches into a foul mouthed tirade about the various nationalities and ethnic groups of the city, before turning it around on himself.
I am the sort of person that's attracted to stories above all, so in that regard I wouldn't describe "25th hour" as being one of my favourite films - but you can't argue with the quality of the performances.
Lee's trademarks are present here and the cinematography suits the feel of the movie very well. The final product feels very polished, but true to the story and it is those small things that some of us notice, those details that separate a veteran from a novice. There are some weak points, but they are only minor.
The acting here is top notch. Norton convinces once again and makes for a great heartfelt performance and Hoffman is equally impressive. However, I was completely blown away by Pepper. Barry Pepper. He 'was' continuously Frank and very consistent in his acting. The scene where he breaks down and Norton thanks him in a way for what he has done is one of the most beautiful scenes I have ever seen. It felt so authentic.
Furthermore, I can keep writing about how great this movie is or how good the acting, but eventually you have to decide for yourself. I can only recommend it.
So, I say to you, if you can, see this movie as soon as possible.
¿Sabías que…?
- TriviaEdward Norton says he took every penny he made from Dragón rojo (2002) to finance this film.
- ErroresThe tattoo on Nikolai's hand means "I'll survive" (not "to survive" as he says). Besides, it is misspelled (in the 3d letter).
- Citas
[Monty standing in the men's bathroom, talking to himself in a mirror with "FUCK YOU!" written on it]
Monty Brogan: Yeah, fuck you, too. Fuck *me*? Fuck *you*, Fuck you and this whole city and everyone in it. Fuck the panhandlers, grubbing for money, and smiling at me behind my back. Fuck the squeegee men dirtying up the clean windshield of my car - get a fucking job! Fuck the Sikhs and the Pakistanis bombing down the avenues in decrepit cabs, curry steaming out their pores stinking up my day. Terrorists in fucking training. SLOW THE FUCK DOWN! Fuck the Chelsea boys with their waxed chests and pumped-up biceps. Going down on each other in my parks and on my piers, jingling their dicks on my Channel 35. Fuck the Korean grocers with their pyramids of overpriced fruit and their tulips and roses wrapped in plastic. Ten years in the country, still no speaky English? Fuck the Russians in Brighton Beach. Mobster thugs sitting in cafés, sipping tea in little glasses, sugar cubes between their teeth. Wheelin' and dealin' and schemin'. Go back where you fucking came from! Fuck the black-hatted Chassidim, strolling up and down 47th street in their dirty gabardine with their dandruff. Selling South African apartheid diamonds! Fuck the Wall Street brokers. Self-styled masters of the universe. Michael Douglas, Gordon Gekko wannabe mother fuckers, figuring out new ways to rob hard working people blind. Send those Enron assholes to jail for FUCKING LIFE! You think Bush and Cheney didn't know about that shit? Give me a fucking break! Tyco! Worldcom! Fuck the Puerto Ricans. Twenty to a car, swelling up the welfare rolls, worst fuckin' parade in the city. And don't even get me started on the Dom-in-i-cans, 'cause they make the Puerto Ricans look good. Fuck the Bensonhurst Italians with their pomaded hair, their nylon warm-up suits, their St. Anthony medallions, swinging their Jason Giambi Louisville Slugger baseball bats, trying to audition for "The Sopranos." Fuck the Upper East Side wives with their Hermès scarves and their fifty-dollar Balducci artichokes. Overfed faces getting pulled and lifted and stretched, all taut and shiny. You're not fooling anybody, sweetheart! Fuck the uptown brothers. They never pass the ball, they don't want to play defense, they take five steps on every lay-up to the hoop. And then they want to turn around and blame everything on the white man. Slavery ended one hundred and thirty seven years ago. Move the fuck on! Fuck the corrupt cops with their anus-violating plungers and their 41 shots, standing behind a blue wall of silence. You betray our trust! Fuck the priests who put their hands down some innocent child's pants. Fuck the church that protects them, delivering us into evil. And while you're at it, fuck J.C.! He got off easy! A day on the cross, a weekend in hell, and all the hallelujahs of the legioned angels for eternity! Try seven years in fuckin' Otisville, J.! Fuck Osama Bin Laden, al-Qaeda, and backward-ass cave-dwelling fundamentalist assholes everywhere. On the names of innocent thousands murdered, I pray you spend the rest of eternity with your seventy-two whores roasting in a jet-fuel fire in hell. You towel-headed camel jockeys can kiss my royal Irish ass! Fuck Jacob Elinsky. Whining malcontent. Fuck Francis Xavier Slaughtery my best friend, judging me while he stares at my girlfriend's ass. Fuck Naturelle Riviera, I gave her my trust and she stabbed me in the back, sold me up the river, fucking bitch. Fuck my father with his endless grief, standing behind that bar sipping on club sodas, selling whisky to firemen, and cheering the Bronx Bombers. Fuck this whole city and everyone in it. From the row-houses of Astoria to the penthouses on Park Avenue, from the projects in the Bronx to the lofts in Soho. From the tenements in Alphabet City to the brownstones in Park Slope to the split-levels in Staten Island. Let an earthquake crumble it, let the fires rage, let it burn to fucking ash and then let the waters rise and submerge this whole rat-infested place.
[pause]
Monty Brogan: No. No, fuck you, Montgomery Brogan. You had it all, and you threw it away, you *dumb* *fuck*!
- Créditos curiososSpecial Thanks ... Bruce "Da Boss" Springsteen
- ConexionesFeatured in Siskel & Ebert & the Movies: The Best Films of 2002 (2003)
- Bandas sonorasWarm It Up Kane
Written by Big Daddy Kane (as Antonio Hardy)
Performed by Big Daddy Kane
Courtesy of Warner Bros. Records Inc.
By Arrangement with Warner Special Products
Selecciones populares
Detalles
Taquilla
- Presupuesto
- USD 5,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 13,084,595
- Fin de semana de estreno en EE. UU. y Canadá
- USD 108,865
- 22 dic 2002
- Total a nivel mundial
- USD 23,936,003
- Tiempo de ejecución
- 2h 15min(135 min)
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1