Credits
Directed by Spike Lee
Source The Criterion Collection DVD
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Posted on 10 July 2004
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Reviews
Do the Right Thing / USA / 1989
“Wake Up!” exclaims DJ Love Daddy, Samuel L. Jackson, in the first minutes of Spike Lee’s Do the Right Thing. It is the first line spoken in the film, and implies far more than its mere dialogical function.
Spike Lee emerged as one of the most important contemporary filmmakers with this film; few directors are as willing to approach racism without trivializing it. For this reason, his films are often the source of pointed disagreement.
Several critics resort to cite the anger in his work, much of which seems inviting to such criticism. In his most recent effort, Bamboozled, advertisements are seen for “Tommy Hilnigger” in which African-Americans are seen popularizing a clothing label produced by a middle-aged, white clothing designer. The distinction is obvious. The film, either directly or indirectly, has since motivated Tommy Hilfiger to defend the racial ambiguity of his clothing, and to ultimately remark “I don’t make clothes for black people.”
Lee’s most reactionary film, Do the Right Thing, is laden with characters who, given the number of races represented, may at first appear to be stereotyped. Lee is, however, clearly battling a stereotype and his means is justifiably injected with anger. Additionally, this is a film that occurs in the heart of Brooklyn yet there are no apparent gangs or violence. The most menacing weapon in the film (aside from a police officer’s ready artillery) is a wooden baseball bat.
There is Da Mayor, an older, jobless man who is kind at heart though comes off as cold and annoying. His preference for Miller High-Life engages an argument at a local vegetable stand, owned by Asians; it does not carry his brown bag beverage of choice.
There is Sal and his two sons who run a self-titled pizza parlor across the street. They are Italian-Americans, which founds, perhaps, their knowledge of their native cuisine and earns their eatery popularity. Mookie (Lee) is their delivery boy. He and Sal’s son Pino are constantly on end.
Radio Raheem and Buggin’ Out are two neighborhood regulars. The latter is all-mouth and the other, the quieter one, is balanced in his lack of speech by a hefty, loud boom box which continually plays Public Enemy’s “Fight the Power” (the song serves as the film’s angry anthem). Buggin’ Out speaks with a higher natural volume than most, whether he be demanding more cheese on a slice of pizza he orders at Sal’s or demanding that Sal put a picture of “a brother” on his “Wall of Fame.” It shelves only 8 by 10s of famous Italian-American actors. His argument, that “brothers” supply the majority of Sal’s business, is logical. When his deeds are ignored he efforts to inspire a boycott. This argument is the source of the film’s escalating conflict.
Do the Right Thing is not as commentative as one may expect, given the reputation of its director. It presents a scenario that derives different responses from different viewers. Controversially, the film approachs race frankly, as peoples’ interpretations of the climax become interwoven with their preconceptions of race and bigotry.
In the film race is symbolically identified, firstly in various sports jerseys. Mookie wears both Michael Jordan’s Chicago Bulls jersey, and later Jackie Robinson’s jacket for the Dodgers. A local brownstone tenant sports Larry Bird’s number Thirty-Three. Later, in an effective sequence the camera pans across various publications; each displays a headline in reference to the growing temperature in a different language. These details relay the setting’s abundant racial differentiation, complimenting a scenario in which conformity is bred rather than tolerance. Lee’s frustration in regard to this thought is at play in his every stroke.
Ernest Dickerson’s photography captures vivid colors, however, little has been made of how well he stages this film. By the end we are familiar enough with Bed-Stuy to knock on a character’s door.
The film premiered at 1989 Cannes to much controversy. Critics cited it as “a call to violence.” At a festival press conference, one asks Lee if he expects his film to incite riots, similar to the one at his film’s climax. The statement is racist, and it stereotypes the people depicted in the film. Lee’s film inspired no riots or violence, though expecting that the film will do so comments on its effectiveness.
The credits open with two quotes: one by Martin Luther King disavows violence of any kind, and one by Malcolm X advocates the use of “defensive violence.” In this manner two critical directions are established, each offering a different interpretation of the film. Several have claimed that this is a critical cop-out on Lee’s part. Rather than stating a point and defending it, Lee’s use of these quotes furthers the ambiguity of his film’s violence. However, an establishment of any clear end would only degrade this work.
As a filmmaker Spike Lee dons the enormous responsibility of defending his beliefs, and it is measured so because it involves racism — the most durable taboo in film. In result Lee’s work elicits a careful sympathy. In any criticism of this film one must respect the courage and knowledge that foster its craft.
Rumsey Taylor | © 2004 notcoming.com
Jeremiah / 29 January 2008 / 3:50 PM
I’ve never been more angered by a review than by David Denby’s review of “Do the Right Thing.” His statement that the film could provoke violence was obviously ludicrous and revealed his middle-brow moderate-liberal complacency all too well- this film is like a political litmus test. I can’t imagine an African-American being affronted by it, but in whites it exposes racism and conservatism infallibly. The dual quotes demand that the audience members either take a side, or pause to consider that ambiguity is central to all of race relations, politics, and instances of political violence. Those who were disturbed by the film simply reveal that they are willing to take a side- the reactionary, ultimately violent one.
michael sefinchenzo / 26 March 2008 / 11:07 PM
yea. great film. this bazoos. ay maron mi gat! the fuckin aolies think they own the place monkeys.