十个小情妇

影片讲述了一个黑帮小头目在入狱前最后时间，一边调查自己被出卖的事情真相，一边与亲友道别的故事。打动我的是影片披着暴力、糜乱外衣下的温情，这种温情有时表达方式很特别，甚至有点暴力，但却忍不住感动，尤其是最后十分钟关于如果还有第二十五个小时的想象—在一个陌生的小镇，重新开始新的生活，给孙子孙女们讲那些离奇的黑帮故事—瞬间飙泪。爱德华诺顿的演技一如既往的精彩，狠毒、张狂、温柔自由切换，完美诠释了一个本性善良的黑帮人物性格的矛盾和形象的多面.

[Monty standing in the men's bathroom, talking to himself in a mirror with a "FUCK YOU" written on it]
Monty Brogan: Well, fuck you, too. Fuck me, fuck you, fuck 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. 20 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 Hermes 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 JC! 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, 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!

《25小时》不是典型的斯派克.李，黑人导演闯进了伍迪艾伦的领地，开始拍摄纽约故事，看似一个人的内心自我挣扎，其实是斯派克李的一贯手法，凸显人与环境的关系。作为环境的纽约不幸成了诺顿在卫生间对着镜子咒骂的对象，FUCK纽约的一切，包括它的复杂与对立。从小跟随父母从亚特兰大搬到纽约布鲁克林区的斯派克李对于纽约这样一个城市有着特殊的感情，我不能说比伍迪艾伦还深，但至少是斯派克李风格的。

作为一个毒贩的爱德华诺顿24个小时后将在第25个小时开始他七年的监狱生活，有谁能改变这一切？父亲、朋友或者情人，到最后才发现父亲这个角色的确让人敬仰。父亲说，永远不要回家，永远不要回纽约，不要给我写信，不要来看我，才能永远逃亡。离开了纽约这样一个城市环境，人的身份会变吗？答案是会。没有了毒贩、夜店、中央公园、狗、朋友，没有了所有的一切，生活就不是原来的样子了。毒贩就不再成为毒贩，但25小时后，纽约还是纽约！

结尾，爱德华·诺顿看到公共汽车里的黑人孩子，孩子在车窗上写下他的名字“TOM”，从诺顿的角度看是“MOT”，然后诺顿写下了自己的名字“MONTY”，用“MONTY”减去“MOT”，看看你得到了哪两个字母？

导演是斯派克·李，所以这不太可能是巧合
http://www.imdb.com/title/tt0307901/board/thread/96008336

如果一天里真的有第25个小时，那么这多出来的一个小时所为何用？是深入内心的反思，还是痛定思痛的赎罪，是抛开现实的幻想，还是充满希望的期待？

影片开始时，Edward Norton饰演的主人公开着豪华轿车游曳在纽约的夜色中，一时兴起地救了一只在街边奄奄一息却依然能朝着靠近的陌生人嚎叫的狗，因为他感觉出了它求生的欲望。而影片结束时，坐在父亲老式吉普里的伤痕累累的他却只能无力的斜靠在座位上。他又何尝不想被拯救，从而赎回一份本应是平淡的生活。

如果你人生中的一个选择，让你必须面对7年的牢狱生涯，且一切都已无可挽回。那么，在你失去自由的最后一个24小时里，你会做些什么？在那亦真亦幻的第25个小时里，你又会做些什么？

Edward Norton饰演一个生活在纽约的毒贩，因为东窗事发而要入狱7年。本片要讲的就是他失去自由前的最后一天里发生的故事。清晨，哈德逊河边，镜头由远及近缓缓地切入河边长椅上我们的主人公和那只黑白斑点狗。一天的故事就从这里开始。一人一狗走过破旧衰败的街道，回到他曾经就读的中学，却得知自己在校队的篮球助攻记录已经作古，而那可能是他生命中唯一引以为豪的一点辉煌。还是一人一狗穿过华丽整洁的街道，回到家。门前的石阶上坐着苦苦等待的女友，那个多年以前坐在公园里的秋千上，让他一见钟情的女孩。事发前的甜蜜温情因为对女友告密的怀疑而化成今日的疏远冷漠，即便在搭档面前依然固执地为自己曾经的最爱辩解。他去和经营小餐馆的父亲吃最后一顿晚餐。二人的对话中透露了他的家庭背景和当初干起毒品生意的被迫无奈。本应被安慰的他故作坚强地安慰着不断自责的父亲，而洗手间里，崩溃的他却是那样的不堪重负。晚上和儿时的两个朋友在夜总会狂欢，享受这让他得到富贵同时让他失去自由的那份特权，却终于发现告密的人竟然是自己一直的搭档。再次回到家中，把狗托付给朋友，将心中的愧疚倾诉给女友，然后去了却最后一桩心事。又是清晨，又是河边，三人一狗的背影在镜头中由近而远。因为担心着未来铁栏内暗无天日的生活，他恳求继而激怒自己儿时的挚友在入狱前把自己揍得鼻青脸肿以破相。拱桥下一场打斗后，他在朋友撕心裂肺的哀号中踉跄的离去。

生活经常和人们开着这样那样的玩笑。很多时候，我们迫于现实，不得不作出一些不情愿的选择。也许当初你也曾挣扎，也许慢慢地你学会适应。但若干年后的一天，现实会不会猛然间让你坠到谷底，感觉就像跟你开了一个荒谬绝伦的玩笑。你突然发现，你并没有勇气承受昔日的选择带来的结果。于是你绝望，无助，你丧失了所有对你无比熟悉一切的耐心和希望，就像Edward Norton在洗手间里对着镜子那段经典的内心独白。绝望的他fuck了他生活中的每一个人，fuck了整个城市的一切。可是到最后，他发现其实是自己抛弃了自己。这让我不由得想起了那句话，“生活是铺天盖地的欲望，而我们是赤手空拳的孩子”。太多的诱惑无时无刻不在勾引着我们走向那虚幻的峰顶，走向那坠落的一刻。我们需要多少克制，多少责任，才能在钢筋水泥的丛林里，在社会编制的法则里全身而退。可能更多时候，是像jacob在夜总会的洗手间里吻完自己的学生后那样落荒而逃。

影片接近结尾时，Edward Norton坐在父亲的车上向监狱驶去，最后一次打量这个熟悉无比的街道，突然觉得自己曾诅咒过的每个人都是那么的亲切和蔼。看着他和旁边公车上的小孩互相在车窗上划出自己的名字，一丝温暖霎时流过我的心田。而结尾处父亲娓娓道来的生活，那个属于第25个小时的生活，都是浸在暖暖的色调里，和贯穿全片的冷色调形成鲜明的对比。那是一种多么平凡却又美好的生活，一种曾经唾手可得却和自己擦肩而过的生活。有那么一刻，我真的愿意相信这就是结局，但镜头一转，那张伤痕累累的脸将我们拉回残酷的现实。这种一天一地的巨大反差凸现了那份悔恨，一切就差那么一点就成为可能。也许，我们要记得的只是：在那第25个小时里，面对生命中的那许多个路口，选择自己能够承受的转弯，然后勇敢地向前。

    You know how they find people?
    They find them when they come home.People went away,but they usually come back,that's why they got caught.
    So you go,and never come back,never come home.
    Let's drive,keep driving, Head out to the middle of nowhere, take that road as far as it takes us.
    You've never been west of Philly, have ya? This is a beautiful country Monty, it's beautiful out there, like a different world. Mountains, hills, cows, farms, and

white churches.
    I drove out west with your mother one time, before you was born. Brooklyn to the Pacific in three days.
    Just enough money for gas, sandwiches, and coffee, but we made it.
    Every man, woman, and child alive should see the desert one time before they die.
    Nothin' at all for miles around.
    Nothin' but sand and rocks and cactus and blue sky.
    Not a soul in sight. No sirens. No car alarms. Nobody honkin' atcha.
    No madmen cursin' or pissin' in the streets.
    You find the silence out there, you find the peace.
    You can find God. So we drive west, keep driving till we find a nice little town.
    These towns out in the desert, you know why they got there?
    People wanted to get way from somewhere else.
    The desert's for startin' over.
    Find a bar and I'll buy us drinks.
    I haven't had a drink in two years, but I'll have one with you, one last whisky with my boy.
    Take our time with it, taste the barley, let it linger. And then I'll go.
    I'll tell you dont ever write me, dont ever visit, I'll tell you I believe in God's kingdom and I'll see you and your mother again, but not in this lifetime.

You'll get a job somewhere, a job that pays cash, a boss who doesn't ask questions, and you make a new life and you never come back.
    Monty, people like you, it's a gift, you'll make friends wherever you go.
    You're going to work hard, you're going to keep your head down and your mouth shut.
    You're going to make yourself a new home out there.
    You're a New Yorker, that won't ever change.
    You got New York in your bones.
    Spend the rest of your life out west but you're still a New Yorker.
    You'll miss your friends, you'll miss your dog, but you're strong.
    You got your mother backbone in you, you're strong like she was.
    You find the right people, and you get yourself papers, a drivers license.
    You forget your old life, you can't come back, you can't call, you can't write.
    You never look back.
    You make a new life for yourself and you live it, you hear me?
    You live your live the way it should have been.
    But maybe, this is dangerous, but maybe after a few years you send word to Naturelle.
    You get yourself a new family and you raise them right, you hear me?
    Give them a good life Monty. Give them what they need.
    You have a son, maybe you name him James, it's a good strong name, and maybe one day years from now years after im dead and gone reunited with your dear ma, you

gather your whole family around and tell them the truth, who you are, where you come from, you tell them the whole story.
    Then you ask them if they know how lucky there are to be there.
    It all came so close to never happening.
    This life came so close to never happening.