![]() Lee would go on to deliver the similarly themed "Jungle Fever" and "Malcolm X" after this, which cemented his reputation as one the most important black filmmaker's of our (or any) generation.The 62nd Academy Awards-held in 1990 at the Dorothy Chandler Pavilion in Los Angeles-were destined to be strange. He has a strong voice on the subject and this outstanding piece of work is one that's still as relevant today as it ever was.īeginning with a simmer before ending in a boiling intensity, this a powerful and thought provoking, sociopolitical commentary. Few films have ever dealt with racism as powerfully or as thought provoking as Lee does here. ![]() That's the real key in preventing this film from being contradictory in it's arguments as many critics have claimed it to be. However, that's the whole point Lee's agenda is not to incite trouble but to rouse debate and he does a sterling job in doing so, while still being empathetic towards each and every one of his characters - regardless of their ethnicity. It's a passionate reflection of racism and race relations and one that raises as many questions as it answers. With this scene alone, it's easy to see why some were offended by the film upon it's release. His script is also as sharp as they come with endlessly quotable dialogue and he even has the bravery to have a selection of characters - from different ethnic backgrounds - rhyme off very personal and racial slurs in a montage that breaks the fourth wall. Lee's direction is vibrant and colourful and makes full use of an excellent hip-hop score before other filmmakers even realised it was cool to do so. Jackson as the radio dj, 'Mister Señor Love Daddy' - who seemingly oversees everything in the neighbourhood. It has a distinct and observant humour that magnifies the absurdity in people's preconceptions and judgments but this absurdity is soon, skilfully, shifted to frustration and rage which descends his characters into a chaotic madness.įilled with an abundance of excellent performances from Danny Aiello's hard working Sal to John Turturro as his racist son Pino and a small but highly entertaining role for Samuel L. He sets his intentions from the outset with the ferociously pumping music of Public Enemy's "Fight the Power" and infuses his story with an eclectic mix of races, characters and personalities, while still managing to lend the film an important lightness of touch. Taking the title from Malcolm X's quote "You've got to do the right thing" and being inspired by an actual incident in Howard Beach, New York, Spike Lee crafts an important and unflinching portrayal of racial tension in a literal urban melting pot. ![]() Most people are unwilling to do so but it still adds to the discontentment amongst the community as racial attitudes and prejudices begin to surface. Sal (Danny Aiello) owns the local Italian pizzeria where he happens to upset black activist Buggin' Out (Giancarlo Esposito) who, in turn, demands the black community boycott his place. On a hot summer day in a Brooklyn neighbourhood, the residents struggle to keep their cool in the increasingly sweltering temperature. However, few of his joints have been as packed or as provocative as "Do The Right Thing". Remember the days when Spike Lee's "joints" has a real edge and potency to them? Nowadays, he's rolling out more generic, Hollywood tripe like "Oldboy" but there was a time when he was a highly original and passionately political filmmaker as he regularly touched upon important social issues and conflicts. ![]()
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