Rewatched at the cinema. A superb film which fully embraces the cinematic medium and uses every formal element possible to heighten the story. It's so vibrant and confidently shot, and has so many hilarious moments. Sad how it’s even more relevant now than 30 years ago.
Complex characters & moral ambiguity make this film. Lee could have easily made a preachy strawman hit-piece but instead chose to present competing philosophies side-by-side, with comparable weight, & lets the audience decide what justice is. Aiello as Sal is unforgettable, while Jackson/Esposito/Davis make great side pieces. Bold, bright colors. Crazy opening credits. Music works, but there's too much. Great ending
How do you do the right thing? Who did the right thing? These are questions the film asks, but leaves up to you to answer. There are few films as timeless as Do The Right Thing, a visually inventive, and socially conscious look at racial tension with nuanced, 3D characters brought to life by fantastic acting.
Spike Lee just drove by and blew up my house, block and mind with one of the most unapologetically stylized and poetic proclamations on racial conflict to ever grace Cinema. A free jazz shuffle of tones, images and ideas that react and spark off one another, topped off with one footstomp of a finale, eternally relevant. This is one that's completely sizzled into my mind.
Persons A and B hurt person C. Then persons D and E kill person A. Then person F, along with a bunch of other people, hurts person C. If you think person F did the right thing, you obviously don't care about fairness and your sense of justice is completely fucked up. The only one who does the right thing but gets fucked is Sal.
One of the great political films, and one of the great American films. Lee's direction is nimble and inventive, and fully alive to the dialectical complexities of the script. The only problem is the music, which is generally good, but overused to the point of occasional intrusiveness.
A devastating character study about racisim and the tension that arise when we can not respect that we are different. Spike Lee created the modern African American drama genre so it is sadly ironic that he had to lose the Academy Award for the old- fashioned portrait of how the white race see African Americans in «Driving Miss Daisy».
Deeply rooted in racial and ethnical stereotypes, this film presents the viewer no easy answers. Violence as self defense is intelligence vs violence is a problem in itself which doesn't contribute to the so longed equality. In a way they're all in the same boat either if they are fresh out of it or not. They all suffer discrimination regardless of their skin colour. Police brutality and police mistrust remain.
I like the way it balanced everything; the different aspects of a multicultural society in 1980s New York. Script: smart, lyrical and fresh. Shots were unusual, sort of at a diagonal angle. Many shots were done with characters looking at the camera, as if they're talking to you. Felt as if the director wanted to be straight about what he wanted to say, he wasn't trying to hide anything or brush it under the carpet.
Ich war zu Beginn vor allem nach dem kraftvoll verzweifelten Vorspann des Films überrascht von der leichten Gangart der Handlung und dem vordergründig sorglosen Ton. Die Explosion des Rassenhasses im letzten Drittel ließ mich schockiert und ratlos zurück. Ich war dem Regisseur gewaltig auf den Leim gegangen und vermute sogar, dass das so von ihm gewollt war. Zurück blieb ein Unbehagen und eine Warnung!
This is a sophisticated and grounded film. 2 viewings 30 years apart, and the radical violence meets violence view I had the first time is now replaced by 'see what intolerance does', framed by our times. You will feel many things watching this film, embrace them all. As complex a maze as the world is.