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Recenzii ale criticilor
Do the Right Thing
Spike Lee Statele Unite, 1989
The first time I saw Do the Right Thing, when it was over, I didn’t speak for a while. I was just trying to take it all in. It was a knockout – almost like being in a boxing ring. Sometimes it was brutal, and sometimes beautiful; an attack, done with style, anger and compassion.
August 01, 2019
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Anchored on a history of racial strife that far transcends the late-80s Brooklyn block it’s set in, Do the Right Thing thrives on Lee’s ability to grind antithetical characters onto a magnetic field that concurrently pushes and pulls them apart.
January 29, 2019
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I saw it in a movie theatre when it first came out, with a mostly-African-American audience, on the weekend it opened, and it is, to date, one of the most exhilarating experiences I have ever had seeing a movie out in public. I get goosebumps just thinking about it. And thinking about the reaction of that crowd.
September 25, 2016
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Though audiences had to wait 23 years for the postscript, Mookie reappears in Red Hook Summer(Spike Lee, 2012), still delivering pizza with Sal’s imprimatur on his shirt. Between these bookends, we might pause to note Lee’s laudable resistance to premature closure, a resistance that enables audiences to ponder Sal and Mookie’s complexities, and mourn Raheem’s death.
April 01, 2015
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While the movie is extremely political, it is also, fortunately, no didactic civics lesson: Lee is able to inspire debate about hot-button issues without pushing an agenda or providing any easy answers… It is also much to Lee’s credit that, as provocative and disturbing as the film at times may be, it is also full of great humor and warmth, qualities perfectly brought out by the ebullient cast and the exuberant color cinematography of Ernest Dickerson.
January 30, 2015
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When I think of this movie or re-watch this movie, I remember Pauline Kael’s line about "Citizen Kane: “It’s more fun than any great movie I can think of.” “Do the Right Thing” is harrowing, sad, painful and often hard to watch, and its final act is tragic, and yet the word “fun” definitely applies to it. The movie is not “fun” as in light or trivial, but “fun” as in “exciting” or “stimulating.”
June 30, 2014
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Chief among the film’s beauties is the simplicity of the setting itself: one block in Brooklyn’s Bedford-Stuyvesant neighborhood on an extremely hot summer day. With its large cast of vividly colorful characters, Do the Right Thing conjures up an environment with all the near-mythical weight of, say, Grover’s Corners, the small-town American neighborhood of Thornton Wilder’sOur Town.
June 27, 2014
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With its thrillingly unorthodox blend of Aristotelian unity and Brechtian artificiality, it locates the big in the small, and the national in the local. Over 120 swift minutes, it assails the viewer with a mixture of character drama, comedy, poetry, music, and then, in its riot finale precipitated by the cops’ murder of young Radio Raheem (Bill Nunn), dares to echo SNCC member H. Rap Brown’s darkly diagnostic pronouncement in the 1960s that “violence is as American as cherry pie.”
July 12, 2013
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The movie was analyzed nearly to death, but hardly anybody mentioned how genuinely bizarre it was, how little it resembled almost anything else in theaters back then—or today, for that matter. Lee took a scenario that seems to cry out for gritty handheld realism and directed it with the aggressive abstraction of a Broadway musical, and he stuck with that approach even at the film’s explosive climax.
March 21, 2011
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The twentieth anniversary of the release of Spike Lee’s “Do the Right Thing” is cause for celebration: it’s an exhilarating movie, the first (and not the last) in which Lee displayed the range of his formidable talents and used them in the service of serious matters. Lee is one of the cinema’s great urban folklorists (on a par with Martin Scorsese and Woody Allen), and “Do the Right Thing” vibrates with the pulse of real life.
July 22, 2009
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Some reviewers, largely the same nervous nellies who warned the movie might incite race riots, took issue with Lee’s perceived free pass to eschew political correctness, especially in Bush I’s “kinder, gentler nation.” But that’s precisely the point of Do the Right Thing. It takes political concepts away from the lip service of cloistered authority figures (including the film’s dirty cops) and dissects them through the lives of those who are forced to live by them.
June 16, 2009
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What if Do the Right Thing doesn’t have any heroes or villains? What if it doesn’t propose any particular action as being the right thing? What if, in fact, it postulates — as I believe it does — that given the divisions that already exist in the social situation that the film depicts, it’s not even possible for any character to “do the right thing” in relation to every other character?
August 04, 1989
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A daring mix of naturalism and allegory, agitprop and psychodrama, Do the Right Thing begins with a Brechtian call to “wake up.” The choppy, fragmented narrative seems much smoother on second-viewing, once you get the spiral structure. The flow is teasingly eruptive: Lee designs his production numbers with an eye toward MTV.
July 11, 1989
Effortlessly moving from comedy to serious social comment, eliciting excellent performances from a large and perfectly selected cast, and making superb use of music both to create mood and comment on the action, Lee contrives to see both sides of each conflict without falling prey to simplistic sentimentality. Best of all, the film — at once stylised and realistic – buzzes throughout with the sheer, edgy bravado that comes from living one’s life on the streets.
June 22, 1989
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