Do the Right Thing (1989)

If I had to make a list of the top ten things that I find most boring, racism would be right at the summit along with economics and The Blair Witch Project. For that reason, I have avoided Do the Right Thing up until now for fear that it would be a lecture on racism...but actually, I don't know what I was afraid of, as this film is really good. Spike Lee's racial drama is actually more a film about the feebleness of racial divides and how violence only breeds violence, as opposed to a film ABOUT racism. In fact, the film can be best described as a cinematic materialisation of Martin Luther King's famous "an eye for an eye leaves everybody blind" speech.

For this movie, Spike Lee has put together a terrific cast, that includes many actors that have gone on to become big names in the movie industry, people such as Samuel L. Jackson, John Turturro and Martin Lawrence, not to mention smaller stars such as Ossie Davis. The cast comes together excellently and the neighbourhood that Spike Lee has created for this film feels very real, and through the multiple personalities that inhabit it, it manages to stay interesting and realistic throughout. The atmosphere of the neighbourhood is also of note, and you really do get the feeling that someone could say 'biatch' or 'dogg' at any time. Spike Lee delights in showing us many different people, and at different times - including their reactions to certain events and their interactions with each other, and it all helps to build up both their own characters and the neighbourhood that they live in. This proves to be invaluable to the film as it has no real plot and therefore relies on the characters and the neighbourhood that it has created to build itself, it's scenario and therefore it's message, up.

Do the Right Thing is a portrait of how multiple cultures live together in modern day America and it also succeeds in being a stark and potent portrayal of how violence never gets anyone anywhere. Spike Lee has shown his talents as an actor, director and a writer with this film, and even though majority opinion of him seems to be that he's a disagreeable old crone; at least he's one that has talent.

Fmovies: 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

I find it a tremendous oversight that this film gets so little recognition. The American film institute couldn't find one place in one hundered American films for this cinematic masterpiece that pulls no punches . It got no academy award and most importantly I could not find one friend who had heard of it. I call this a tremendous oversight because the film is wonderful. I know that Spike Lee is a rather eccentric personality and is not well liked by everyone, but his films are brilliant and this is no exception.

For about the first two thirds of the movie the plot meanders around a section of New York City as the characters awaken and start their days. For this first two thirds we have a comedy that is funny because of the eccentric and wonderfully developed characters. The audience is pulled into the story by the rich dialogue and inventive cinematography. There is just some quality about this film that makes it seem so real. This all sets up for the imminent tragedy to be all the worse as a result of the connection the audience has with the movie.

Then the film explodes. Those who have seen it know what I mean and those who have not should see it. This last third of the film should not be explained, it must be experianced. In fact this whole film should be experianced. I can't say enough.

Do the Right Thing fmovies. "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)

I have heard people describe Spike Lee as a second-rate filmmaker; all I have to say is that second-rate filmmakers do not make films like this. Do the Right Thing is a masterpiece in both style and substance, and Im hard pressed to think of a more powerful, earth-shattering film.

But first, let's talk about the style. The color palette of the movie is wonderful; while its mostly deep reds, they manage to bring home the feeling that the residents of Bed-Stuy must have been feeling on that day. The cinematography is excellent... it features a lot of weird viewpoints and angles, but they are used to great effect and manage to work within the style of the film. One thing that really managed to impress me about the film is the razor sharp dialogue... each character has their own style of talking, and it really works well. This is a masterfully written film.

Now the substance... this movie manages to spiral into a truly spectacular ending. Throughout, its easy to see the necessary elements building, and, when it happens, it hardly seems like a surprise, but that doesn't make it any less shattering. The way that each character acts defines this movie throughout, especially at the end! Spike Lee does a brilliant job here. The movie is interesting and well-made throughout; each of the characters are three-dimensional and feel like real human beings - their motivation is understood throughout.

Do the Right Thing is a brilliant movie that never lags and never lets up. It manages to be vastly entertaining and vastly powerful at the same time. It's truly an amazing achievement in film, and its a shame it was not recognized more for its obvious brilliance when it was released in 1989.

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 e