Do the Right Thing

I went to see a free showing of this film the other night, in light of recent events. Where a younger version of myself would have maybe shrugged and thought 'Well, this is an extreme depiction of reality', I now realize that it is not.

Do the Right Thing is a beautiful mix of comedy, great narration (what movie introduces an entire block of characters and makes you care about each of them?), intense dialogue and a very dark, grueling reality we live in, today. Not just in the United States, but everywhere in the world.

Unfortunately it cannot be fully called a historical drama yet. But hopefully, some day in the future we can watch this, have a chuckle and weep tears of sadness for the past in which racism, prejudice, bigotry and police brutality was commonplace. Until then: let's spread this movie out like a virus. It's been 30 years with hardly any change, the previous generations haven't been able to eradicate the evil that is racism. Let's do our best to make a difference.

A scorching summer day brings racial tensions to their boiling point in a Brooklyn neighborhood. Seen through many points of view Spike Lee paints a convincing and critical picture of tensions in the most diverse city in the USA.

The film's strength is its ability to ring true to many sets of ears and especially if you frequent or live in a big city. You always here of events - big and small - on the news and there is usually that element of "racial tensions" or "possible racial motive." In a city where over 200 different languages are spoken (which can give you an idea of how many distinguishable cultures there are) it is only a natural ingredient for friction between people. Whether you hate the other guy, or are just annoyed that you can't understand him nor he you, when all you want to do is buy some groceries. This film shows many situations of this type and how everyone is, in a sense, innocent and guilty at the same time. If a situation gets out of hand and you have people throwing slurs at each other there is that famous expression: "he crossed the line." Well even with critical hindsight, this "line" isn't always visible and when it is, it's faint.

Spike Lee manages to show that very well and with a lot of diverse characters, hence the film being able to ring true with an equally diverse audience.

The only problem is that in today's America the issue is more about class and not just race, though race and class are intertwined. "Crash" presented the issue of class and lifestyle a little bit more thoroughly, but in the end felt preachy and unrealistically sentimental. "Do the Right Thing" is much tighter and the film's climax and overall impact is more powerful. Also of the note is the terrific acting from the entire cast. --- 9/10

Rated R for profanity and some violence

"Do the Right Thing" is a powerful, uplifting, visually stunning masterpiece. It's a movie that I can watch over and over again, and deservedly takes the Number 7 Spot of My Favorite Movies Of All Time. This was one of Spike's debut efforts, and until this day--the best one. Spike gives us an honest, unflinching look at the Bedford-Stuyvestant area of Brooklyn on the hottest day of the summer. He perfectly displays the racial tensions that go on between everybody from blacks to whites to Koreans. Yet he never gets preachy, which is one of the brilliant things about this movie. Some of Spike's best work is demonstrated in his shots of Radio Raheem, played excellently by Bill Nunn. RR doesn't say much, but he has this violent gaze which sums up his feelings without a word being said. Spike gives us some great angles of his face, demonstrating the pure rage brewing inside of him. He also has a great scene in which he sums up the meanings of love and hate, in Spike's trademark poetry-in-motion style. RR constantly carries around a boombox, playing the same song "Fight the Power" by Public Enemy. That song is one of the best musical themes in movie history, perfectly summing up racial tension among inner cities. This movie doesn't tell its audience that black people are better than others, nor does it say that Hispanics are, or whites, or Asians. It just gives us a raw look at what happens when we let racial quarrels get out of hand. We learn how sometimes it's appropriate to preach against racism, and sometimes we're just overreacting.

The cast is terrific, and they deliver memorable performances. I really wish Danny Aiello picked up the Oscar for his role as Sal, because that is definitely the pinnacle performance of his career and one of the best I've ever seen. Other noteworthy performances are by John Turturro, Ossie Davis and Giancarlo Esposito.

The film is put together with such fast-paced editing that it doesn't once get boring, doesn't have any low points. This is a gritty, memorable film that I wish can be considered more prominent in the eyes of the average moviegoer, because it really deserves great recognition for its unique, unforgettable style.

Spike definitely knows how to do the right thing.

My score: 10 (out of 10)

It's sometimes difficult to separate artists' public statements from the work they're commenting on, or to ignore the politically charged aura a film generates. There's always that nagging feeling that a movie's point must be sussed out, that the real intentions of the filmmaker must be understood. But in retrospect--and despite director Spike Lee's rhetoric--Do the Right Thing may not be as profound as previously thought. While it should be applauded for taking on the subject of race without Hollywood's usual heavy-handedness, simply presenting a topic doesn't automatically mean anything is actually being said about that topic.

Whatever problems there are with the content, Do the Right Thing is still great film-making. It's a vibrant, passionate, funny movie, and like a true work of art, it both surprises and provokes. It's technically audacious and features one of the most successful displays of stifling, suffocating heat ever put on film.and it does it without being languid itself. The dialogue is fast paced, the characters energetic, and the camera-work unpredictable, full of clever pans and Twilight Zone angles. And, except for the always excruciating Martin Lawrence, the performances are uniformly good throughout. Lee also manages to out-Altman Altman by presenting a large cast of characters without it ever becoming confusing or disjointed.

Taking place over the course of one scorching day in Bedford-Stuyvesant, most of the action occurs in and around a pizzeria run by Sal (Danny Aiello) and his sons Pino and Vito (John Turturro, Richard Edson). But the entire neighborhood is featured as the film intercuts between various exchanges, many of them tinged with racial overtones: while Buggin Out (Giancarlo Esposito) challenges a white tenement owner when he feels slighted, down the street three men debate the right of a Korean to own a variety store in "their" neighborhood.

There are personal moments as well: Da Mayor (Ossie Davis) continually attempts to soften Mother Sister's (Ruby Dee) opinion of him, while Mookie (Lee) juggles time between his job at Sal's and his increasingly aggravated girlfriend (Rosie Perez). Although Lee doesn't have the time to make all his characters three-dimensional, he avoids sentimentalizing or demonizing any one group; there are both blacks and whites who are sympathetic (Sal, Da Mayor) and troublesome (Pino, Radio Raheem). Only the Korean storeowner played by Steven Parks is a blatant caricature. (Asians seem to get short shrift no matter who is behind the camera.) Presiding over the action is disc jockey Senor Love Daddy (Samuel L. Jackson). Like Wolfman Jack in American Graffiti, he provides ongoing background music, as well as periodic commentary.

Eventually, the heat and personal tensions culminate in an explosion of violence centered on Sal's pizzeria. The violence escalates after one of the characters is killed. It's at this point that the film becomes problematic. The murder is supposed to be a tragedy, meant to provoke outrage in the audience. But the killing of a fictional character isn't enough in itself to warrant a reaction. It's not that audiences are jaded, but drama usually elicits judgement based on the narrative alone. If a character is a jerk, his death won't elicit much of a response. Like Mel Gibson's The Passion of the Christ, Do the Right Thing relies too heavily on the personal baggage audiences are supposedly bringing to the film. Drawing on contemporary events and feelings may be provocative, but it dates the film and makes for poor drama. The reactions of Mookie and Mother Sister to the murder may have been understandable to a disenfranchised group, but in the context of the plot they appear unmotivated, almost random.

The somewhat ambiguous nature of the movie could easily be trumpeted as a selling point. Lee doesn't want to hold your hand; he wants you to make up your own mind. But there is a fine line between "bravely ambiguous" and "maddeningly directionless." While Oliver Stone continually has been pilloried for his blatantly didactic films, there is something to be said for being recklessly personal and taking a stand. Lee made a movie about racism; but we're so starved for challenging works, for thematically mature movies, we've embraced a film that ultimately says nothing more than "racism is bad" and "no one person or group is to blame."

The simplistic ideals of Do the Right Thing are most evident in four scenes: 1) Love Daddy lists practically every major black musician from the last fifty years; 2) in an overly contrived sequence, Mookie gets Pino to admit that his cultural heroes are all black (Magic Johnson, Eddie Murphy, and Prince); 3) Martin Luther King, Malcolm X, Al Sharpton, Jesse Jackson and Louis Farrakhan are all mentioned; 4) the words "Tawana Told the Truth" appear spray painted on a wall (a reference to the Tawana Brawley controversy of 1987). No differentiation is made between the listed artists, and no context is given for the black leaders mentioned. These aren't explorations of racially-charged issues, it's just name dropping.

Despite its flaws, Do the Right Thing provokes discussion. It's an impossible film to dismiss. Spike Lee's subsequent career has turned out to be a disappointment, but Do the Right Thing, along with Malcolm X, represent Lee at his creative peak.

As a non white or non black person my self I view this film from a different perspective as I can't relate to either community. I understand Lee's message and point in the film and even after 30 years after the release, it is more relevant than ever. But for the character of Sal, he is punished for standing his ground. Should he have racially abused black people based on their race, no. But should he have been given the blame for the death of a black man, no. If Raheem killed Sal, which is definitely what he was trying by strangling him, the black community in the film wouldn't have been guilty for his death and say he deserved it. All he did was brake his radio. Sal saying that he only puts Italian American people on his wall is completely justified as he comes from a Italian heritage. If a white man entered the restaurant of a black man and said put up pictures of white men that wouldn't be seen as right. And it applies for both races, just because he is a white man doesn't mean he should be punished. Mookie's decision to boycott the restaurant and allow for the rest to burn down Sal's restaurant has no justification. I didn't understand Lee's point, was he trying to make black people look worse of better? To me it only represented what Americans think of the black community.