Monday January 13, 2003 michigandaily.com/arts mae@michigandaily.com gftdftm Ot(dig ARTS 5A '25th Hour finds a New York post Sept.1U By Tara Billik Daily Arts Writer ~.. Jack is a little disoriented after deciding to take control of his life for Y'the very first Courtesy of New ti ....:.".. " Line 'CHMibT' shows lighter side of Jack By Jeff Dickerson Daily Arts Editor Spile Lee's "25th Hour" focuses on intense character portrayal and the nuance of setting, ignoring a somewhat skimpy plotline. Certainly deviating from director Spike Lee's typical cast, the movie surprisingly deals with the lives of three white guys in New York City. Still, Lee stamps his signature on the film with its alluring emotional intensity, social commentary and lyrical cine- matography. Montgomery Brogan's (Edward Norton) life as he knows it has ended after being convicted of major drug charges and sentenced to seven years in prison. The rather slow two-and-a half hours of screen time are devoted to Monty's last day of freedom in which he is tormented by his greed, guilt and the suspicion that his beau- tiful girlfriend Naturelle (Rosario Dawson, "Men in Black II") was the one who tipped off the cops. He I am Jack's park bench. develop their roles through lengthy dialogue-driven scenes. Norton is perfectly cast as a tough, sophisti- cated man who wouldn't last a day in the maximum-security prison due to his pretty face. In "About Schmidt," based on Louis Begby's 1996 novel and the third film from Alexander Payne, is, as the title indicates, about Warren Schmidt, a 66-year-old recently retired insur- ance actuary who resides in Omaha. Schmidt, played with gracious subtlety by Jack Nicholson in his best role in over a decade, is a man who slowly comes to understand his entire life is all for naught. His retirement plan is to travel across the country in his 35- foot Winnebago (The Adventurer) with Helen (June Squibb, "Far From Heaven"), his wife of 42 years. But with nothing to do, Warren starts to re-evaluate his life's work, constantly nag- ging about his wife's annoying habits (she interrupts him, col- lects trinkets and only eats at new restaurants) and getting flustered about his daughter's (Hope Davis, "Home Alone") upcoming marriage and his soon-to-be son-in-law (Dermot Mulroney, "My Best Friend's Wedding"). The rich characters of "Schmidt" are the byproduct of spends time with his father (Brian Cox) and meets with his long- time buddies Jakob (Philip Seymour Hoff- man), a high school teacher, and Frank (Barry Pepper, "61*"), a Wall Street broker. Frank clearly explains Monty's only three 25TH HOUR At Showcase and Quality 16 Touchstone every close-up, his eyes suggest an over- whelming amount of pain and suffering as he counts down his final hours. Hoffman is vulnerable and sympa- thetic, expertly juxta- posed with Pepper's cocky, yet loyal, char- delivers another excellent at his image in the mirror where the inscription "fuck you" reads in the corner. This incites a poetic inter- lude of quick cuts and an energetic monologue where he curses every racial, economic and social class that dwells in the city. Rodrigo Pri- eto's artistic cinematography becomes evident here, as well as in the multiple overlapping edits that extend a dreamlike quality of the film. However, though well directed, these interruptions are rather obtru- sive to the overall flow of the film. "25th Hour" seems a requiem for Monty Brogan, as well as for the city of New York. Lee daringly throws the destruction of post-Sept. 11 in our faces with glimpses of bin Laden "Wanted: Dead or Alive" posters and the actual site of the World Trade Center itself. A magnif- icent scene takes the camera high up into a window of a building that overlooks Ground Zero. The scene is truly haunting, appropriately res- onating the tone of the entire film. couurtesy f Neuw Line At least someone's smiling about this picture. gives an Oscar-worthy performance as the unapologetic in- law), the most memorable person is a 6-year-old Tanzanian boy named Ndugu (never seen on screen), who Warren decides to sponsor after seeing an ad on television. Through letters to his underpriveleged foster child (the most amusing parts of the film), Warren is able to vent his frustrations with options: go to prison, run away or put a bullet in his head. The three guys, along with Naturelle, spend Monty's last evening at a nightclub where Monty's supplier wants to meet with him one last time. Also, an enter- taining subplot involving Jakob's love interest, his 16-year-old student (Anna Paquin), weaves its way into the narrative. Lee grants his actors ample time to acter. Cox performance as a grieving father, while Paquin plays the symbol of innocence as the naive, free-spirited student. The grittiness of New York nearly becomes another character in the film. Lee's distinctiveness shines with commentary scenes reminiscent of "Do the Right Thing." In one memorable sequence, Monty peers Payne's direction and Begby's novel, an ensem- ble of personalities that feels more like a group of distant relatives than actors. The symbiotic culmination produces characters that feel authentic, not fabricated. It's no surprise that Payne is the brilliant mind behind 1999's dark1 comedy "Election." Unlike "Election," "About Schmidt" plays for more than just comedic effect. For every joke, there is an immediate reminder of the overarching tragedy of the story. Warren com- plains about every facet of his marriage, then his ABOUT SCHMIDT At Showcase and Quality 16 New Line his new life. Unknowningly to Schmidt, little Ndugu becomes his most appreciative friend. Nicholson, following a string of embel- lished roles in recent years, opts this time for a more minimalist approach, wisely letting Payne's script drive his character. It's refresh- ing to see Nicholson's virtuoso acting chops being used to form a real character rather than a caricature. Payne and his longtime screenwriting part- ner Jim Taylor have taken several liberties wife dies. Following the unexpected death of Helen, Warren hits the road in his gas guzzling Winnebago in an :attempt to prevent his daughter's wedding. For a while "About Schmidt" becomes a road movie, as the protagonist seeks some kind of meaning in his life on a sort of literal and metaphorical road trip across the Plains states. Despite all of the quirky characters in the film (Kathy Bates with Begby's novel, primarily in changing the title character from an upscale New Yorker to a humble Nebraskan. It's a just alteration, as the Omahan Schmidt seems more accessi- ble than a wealthy Manhattanite. "About Schmidt" delicately balances comedy and drama and creates a film that is not only amusing, but heart-break- ing. This complex case of cinematic bi-polarism is what makes Schmidt, and the film, so memorable. Another Dickens tale comes to life By Matthew Wright Hollerbach For the Daily You either like Charles Dickens or you don't. Whether you subscribe to the former or latter, this movie will not change your mind. Those who like Dickens (whose fairly detailed work is indicative of the fact that he was paid by the word) will enjoy this richly detailed film. "Nicholas Nickleby" is one of Dickens' earlier novels and does not necessarily stand out from the rest in any particular way, except for its exceptional length. It is the story of a young man, Nicholas Nickleby (Charlie Hunnam, "Abandon"), who tries to make a living for his sister and widowed mother. His primary obstacle in this pursuit is his uncle (Christopher Plummer, "The Insider"), a more venge- ful incarnation of 0 Scrooge. Through him, Nickleby finds his way to a boys' boarding school as a teacher. He NICI then discovers that the NIC headmaster, Wackford At Sho Squeers (Jim Broad- Qua bent), is abusive to his pupils and, in particular, Unite to an older boy servant named Smike (Jamie Bell, "Billy Elliot"), whom Nickleby befriends. After a clash with Squeers, the two leave the school and encounter a trav- eling theater troupe that provides them with temporary employment until Courtesy0 UofTUni ists No, I'm not an orphan. Whatever gave you that idea? Nickleby learns that his uncle has been mistreating his sister in London. Following a series of encounters and meetings (and the introduction of HOLAS KLEBY wcase and lity 16 ed Artists nearly a dozen new char- acters), Nickleby works up the courage to con- front his uncle. The twist ending is nothing new, though most will find it satisfying, and the ulti- mately happy turnout is what qualifies this film as a "comedy." Do not be fooled, however. As with most of Dickens' ters that pop memorably off the screen. Most notable are Broadbent's perform- ance as the comically cruel Squeers and Bell's as the pitiably lovable Smike. However, there is an inevitable issue that arises when Dickensian heroes attempt to cross from page to screen. In novels with such richly drawn support- ing characters, the central ones must be pillars of simplicity and serve to simply hold the story together. Hunnam does a fine job in the role of Nickleby and, again, this is a mat- ter of your prior opinion regarding Dickens. There are also issues of adaptation, which are inevitably raised. Leaving these questions behind, this picture (nominated for a Best Picture Golden Globe in the musical/comedy category), though not perfect, is a wonderful interpreta- tion and portrayal of the story. "comedies," this story contains a rather marked juxtaposition of levity and seriousness; it just happens to end on a good note. The picture is richly implemented, with detailed sets and fantastic charac- REEL SHORTS STAR TREK: NEMESIS: "Star Trek" fans rejoice and whimper, for the newest addition to the "Genera- tion" films has arrived. The latest film, "Nemesis," contains all the familiar members of the Enterprise crew: Picard, Geordi, "Number 1" (Riker), Data, Worf, Crusher and Deanna Troi. The film opens with the assassination of the Romulan Senate and much turmoil in the Neu- tral Zone; however, there is- talk of While "Nemesis" does have its share of action, humor and surprise, it certainly does not compare to other Generation films such as "First Con- tact" and "Generations." The film may appeal to those who don't consider themselves a "trekkie" as "Nemesis" does not assume the viewer has much prior knowledge about the series, or past films. Those outside the cult fan- base may still find some merit in "Nemesis." * * * making her living as a maid in an upscale Manhattan hotel. Instead of glass slippers, Marisa is trying on an expensive dress that belongs to a wealthy guest of the hotel when Christopher Marshall (Ralph Fiennes) walks into the room, and she walks instantly into his heaft. Marshall is no prince, but rather senatorial candidate Charming, and this extreme difference in social classes is where the conflict comes in. Marisa must now try to hide CHANGE THINGS.. find out how: INFORMATION SESSION Monday, January 1 3 ,7:30 p . m .