When 25th Hour was released in December 2002, its narrative took on more than the source material it was based on. David Benioff adapted the story from his 2001 novel, The 25th Hour, and it centers on the last 24 hours of freedom in one man’s life before he heads off to prison for dealing drugs. Directed by Spike Lee, it’s a gripping story that deals with the regrets regarding unfortunate decisions, taking personal accountability, and possible redemption.
On its own, the story would be compelling, but real-life events would make 25th Hour take on an even bigger purpose, as it was the first movie shot in New York City after the 9/11 terror attacks. Lee, who has the spirit of New York in his very DNA, decided not to ignore this life-changing event that completely altered the city and the nation at large. He wanted to integrate into the story and, in doing so, he crafted a film that showcased the strength of New York City and its inhabitants while crafting what could very well be the most important post 9/11 film.
Nothing about 25th Hour’s central story has anything to do with 9/11. The source material was published in 2000, with subsequent paperback releases coming in 2001 and 2002. The events of 9/11 weren’t even ones Benioff could’ve fathomed before he wrote it, and instead the central tragedy revolves around Monty Brogan (Edward Norton), someone who got into the fast living and monetary excess of dealing drugs, which led to him getting involved with the wrong people before he ultimately gets busted.
It’s unsavory business, but Monty, despite his dirty dealings, is a good person who is fiercely loyal to his two best friends, Frank and Jacob (portrayed by Barry Pepper and the late Philip Seymour Hoffman), and is undeniably in love with his longtime girlfriend, Naturelle (Rosario Dawson). His father, James (Brian Cox), is also immensely proud of him, even though the guilt he feels over his past choices and how they may have led his son down this path is palpable. All of this takes place with New York City as its backdrop as Monty goes through his final day as a free man. New York City feels like a living, breathing character because it’s recovering from its own scars after going through the worst terrorist attack to hit American soil. Monty’s journey is juxtaposed with a city that is trying to pick up the pieces and rebuild, much like Monty is.
25th Hour Approaches 9/11 in an Organic Way
Hollywood taking on 9/11 was inevitable. It was really a matter of how soon and what approach the industry would take because it was a fresh round that hit so many people directly. Some of the films have gone the based on actual events approach, such as Paul Greengrass’ powerful and haunting United 93 or Oliver Stone’s more by-the-numbers procedural drama, World Trade Center. Other films have even made 9/11 an uneasy or unnecessary plot point, like the melodramatic Reign Over Me or the surprise ending of the romantic drama, Remember Me. Since 25th Hour isn’t about 9/11, it could’ve easily fallen into the category of the last two aforementioned films, but Lee’s most crucial approach makes it the most honest.
Lee decided that New York City would be shot and shown as it was in the wake of 9/11 when filming took place. He didn’t want the tragedy to overtake Monty’s story, but felt that he couldn’t make a film set in New York City that ignored the event. During an interview on the Charlie Rose Show in 2003, Lee revealed that he was prepping 25th Hour in the early summer of 2001 as a standard and straightforward adaptation of Benioff’s book. There was enough meaty material, with a lot of characters going through their various struggles, that not much more drama would be necessary to add for a feature-length adaptation. However, when 9/11 happened, Lee thought the story couldn’t simply be told as is.
In the wake of 9/11, Hollywood did a lot, out of respect, no doubt, to digitally erase shots of the Twin Towers in projects shot before the attacks, almost as a way to make it seem like the event didn’t happen. While marketing materials were wiping away any imagery of the World Trade Center, Lee didn’t want to erase that history, no matter how tragic it was. As a director and storyteller, he knew of the power of leaning into tragedy because it allows you to confront it and ultimately find the strength to recover.
Lee kicks off the film by proving this very point, and it’s one that sets the tone for what lies ahead. 25th Hour’s opening credits begin with the “Tribute in Light” art installation of 88 searchlights that was placed next to the site of the World Trade Center to create two vertical columns as a remembrance of the attacks. As Terence Blanchard’s score builds to a powerful crescendo, the tribute is revealed in full view, and it tells the audience that this story will take place in New York City as it is today, and this is an event that won’t be ignored. The visual is a beautiful piece of art, as the lights illuminate the night sky and indicate that even though the towers are gone, their spirit remains, and they will shine their light as the city begins to rebuild.
9/11 Enhances But Never Overshadows The Story
Lee understood how to use the events of 9/11 and how they affected the city to drive the central narrative of 25th Hour. By using the attacks as a metaphor of sorts, it intensifies character interactions and adds even more emotional weight to an already harrowing story. Lee is never heavy-handed with the approach, and each time he utilizes it, it’s done most sincerely and authentically.
In one of the film’s most haunting scenes, Frank (Pepper) and Jacob (Hoffman) are having a conversation about Monty, his options, and his future as they sit by a window that directly overlooks Ground Zero. Blanchard’s score, once again a stellar piece of art, eases its way into the scene as the discussion first begins about the air being bad down there due to the attacks, but then it flawlessly transitions into a deeper conversation about their friend.
How should they spend their last day with him? What do they say? Will they still be there for him when he gets out? Soon, it becomes an argument between the two as they disagree on how to handle the situation, and soon Frank storms off in a fit of anger. As Frank exits the frame, Lee’s camera moves in on the workers in the pit of Ground Zero as Blanchard’s score sounds off as a battle cry. In all honesty, this is the most direct way that Lee comes to driving home the sorrow and pain of the event. However, in mirroring it to the uncertainty of Monty’s outcome, it works in lockstep with the pain of the city in that moment. The execution is flawless, and Lee manages not to deviate from the central narrative.
25th Hour Doesn’t Shy Away From Anger
As Monty’s story progresses, there is a sense of anger he feels knowing he allowed his life to fall apart. The pain of leaving behind the ones he loves starts to affect his psyche, although he doesn’t want to show he’s bursting at the seams. Lee uses the shadow of 9/11 as a lingering wound, which, in turn, provides a metaphor for the wounds and anger that Monty is feeling.
Even though Lee has love for his city, he’s not afraid to express how the effects of watching its destruction affected those who lived in it. Perhaps the biggest coincidence that feels like Lee’s doing but is actually present in Benioff’s novel is the famous “F**k You” monologue delivered by Monty. As he stands in front of a mirror, he delivers an intense rant that calls out various groups and boroughs in New York City. Nothing or no is off-limits in the five-minute monologue, and it’s a moment that Benioff wanted to cut but one that Lee insisted stayed in the film. As the rant goes on and he blames everyone for his predicament, he ends the rant, but rightfully places the blame where it lies by saying “f**k you” to himself. It’s a standout moment for Norton, but Lee keeping it in the film allows for another visual depiction, later in the film, of why New York City stands tall in the face of tragedy.
As he delivers this rant about the people and things he hates about New York City, it’s beautifully reprised when it comes full circle during the film’s climax. As Monty is headed to his final fate, to be dropped off at prison, he sees many of the same faces and things he saw during his rant, this time shown in a more positive light as they wave him goodbye. The moment goes a long way to show that these people. These connections. The power of the city is what he’ll miss about being sent away to prison. Deep in that rant is a deep-rooted love for New York City and all that comes with it. A similar moment happens in Lee’s Do the Right Thing, and even though it is present in Benioff’s novel and he wished to cut the monologue, it feels much more essential to add a layer of lingering power in the aftermath of a post-9/11 New York City.
25th Hour Shows Trauma Can’t Be Ignored But You Can Overcome It
Not just anyone could’ve captured the atmosphere of the city in a haunting and authentic way, as Lee did with 25th Hour. Perhaps many other filmmakers wouldn’t have been brave enough to capture a city on the mend because it would’ve been too hard to tackle in a way that felt right. Lee saw strength in addressing the trauma in some way.
Lee’s decision not to ignore the events of 9/11 is made even more clear during the film’s climax, which has Cox as Monty’s father, delivering a “what if” monologue that shows the audience what could happen if Monty doesn’t report to prison and escapes to lead a brand-new life. It’s the ending that most would want for Monty. A life where he’s happy and content and eventually reunited with the woman he loves. It’s a snapshot of a great life that “came so close to never happening.”
By the end, you know the monologue is merely a fantasy and an alternate reality. Monty will have to face his consequences and deal with them. Much like many of us can think of an alternate reality where 9/11 never happened, the truth of the matter is that it did. It was devastating, crippling, and an attack on our soil that we had never seen the likes of before. There is no ignoring the truth of the tragedy. It’s a part of our history and something everyone had to confront so they could recover, rebuild, and move on with life to prove that this would not break us. That’s the power in 25th Hour’s message by the time the credits roll: that somehow, you really do feel like we can all get through this together and be much stronger for it.
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