It sets the viewer in a late 80s Brooklyn, soaked with summer heat and accompanied with soft jazz. But the characters are the ones that place this as a classic. Their prejudicial but innocent insults bring a harmony into chaos - until the ending when the plot takes darker direction. Banality of hatred and divisions it creates, leaves many doors closed and lives ruined - and it's presented with one powerful conclusion
The best analysis of class and race discrepancies in the age of multiculturalism ever put on screen. While many filmmakers are proud of their useless ambiguities, the questions here are urgent and really force us to reconsider what we thought we knew. This is Spike Lee's timeless masterpiece, and fuck Wenders for giving the Palm D'Or to Soderbergh instead of this. What a stupid choice.
Colorful and with high-tempo it is alright. But how does this make me rethink America or understand even Brooklyn ? Idiots annoying other idiots and the thing resulting in a horrible accident. So what ? Why is it so anecdotic ? It should not be. I am afraid that the public and critics have been somehow patronizing this one. Even the heated dialogues are artificial. Tarantino does it better. Not really inspirational.
With each viewing, this movie only gets more complicated, sadder, & yet more humming, crawling out of its skin with ideas. Lee spends 90 min basking you in human behavior & relationships, then drops a distressing conflict into the mix. In a political climate where every answer is easy and the other side are evil, it's now even more painful to watch a film that seems to say "the right thing" isn't so easy to define.
A stylish, complicated, engaging illustration of the nuances of class, age, and race differences in America. One of the standout qualities to me is the way that, in spite of being vignette based, the movie manages to work at a basic level by using just about every vignette to explore a clash between two or three different attitudes, detailing the characters at the same time. It's a phenomenal movie.
Tan solo escuchando cómo suenan las cosas en esta película uno debería entender claramente cuál es el grado en el que impacta lo que se está contando. La música estalla por los autoparlantes, el agua salpica cual catarata en las calles, las sirenas, los disparos, las ventanas que destrozan. Desde el baile que abre hasta las citas de Malcolm X y M.L King que la cierran, todo en esta película es alto, claro y ruidoso.
Gets an extra star for the music. Spike tries to have his cake and eat it too. He does the wrong thing, and then presents the philosophies of Malcolm X and MLK for you to decide. Of course, as he well knows, Malcolm X's philosophies continued to evolve as time went on. Thank god for Robin Harris.
Dave Kehr's valid point about the film's dishonest finale (the unrealistic riot on Sal's pizzeria following the police killing doesn't escalate or hurt anybody so that the audience doesn't have to deal with those consequences) is the only thing preventing me from giving this otherwise thoughtful, aesthetically exhilarating and continually important film its five stars.
rewatched. A great example of an urban symphony, in a sense an heir of King Vidor's "Street Scene," a theatrical occupation of a specific décor and of a strict time, socially on the fringe of Woody Allen's usual social stratum. The visual delirium, image and set design, is rare and of an accurate taste - mostly for the recent North-American cinema - which grand finale is a conceptual moment of ideologic discussion.