A critic’s classic, Spike Lee’s Do the Right Thing is a film built on its virtues: vibrant colours that embody the hottest day of the summer, simple but meaningful cinematography, and idiosyncratic writing that leaves its mental mark.
How many times have you opened a conversation by commenting on the hot weather? It’s not like it opens many conversational doors (“Yes, it really is hot… anyway, where was I?”), but it does break the ice by creating a simple connection; we are both sharing the same experience of sweating through our t-shirts. That is the premise for Spike Lee’s third, and arguably best, feature film: a record-breaking heatwave brings a predominantly Black neighbourhood onto the streets as they lounge in the summer sun, bicker amongst themselves, and deliver Sal’s famous pizza.
The latter is Mookie’s (Spike Lee) job, sluggishly walking around the corner to deliver another margherita as he bumps into his various eclectic acquaintances – the energetic and erratic Buggin’ Out (Giancarlo Esposito), Radio Raheem (Bill Nunn) and his boombox ceaselessly blasting Fight the Power, the drunk but friendly Da Mayor (Ossie Davis) calling everyone ‘Doc’. The street feels alive as all the unique characters flit through each scene, everyone interacting as they pass a comment while their sub-plots build naturally on the simple exchanges. Lee’s witty writing is able to calm the chaos of such a large ensemble as he subtly places them in the background, immersing me into the world as their chemistry shines with its own brilliance rather than spoon feeding it.
When Buggin’ Out’s Jordan’s are ‘ruined’ and he starts shouting at the perpetrator, the street comes to see the commotion, joining in from the side lines. It’s rare to find a film that captures the community-focused air of shows like Gilmore Girls and Downton Abbey, but Lee perfects it without missing a beat. At first, Do the Right Thing may seem to solely anchor itself in the minutia of the performances, yet the powder keg plot is always there, waiting to explode.
Similar to Once Upon a Time in Hollywood and Uncut Gems, the main narrative isn’t exactly clear as scenes transition from one sub-plot to the next, each one feeding into the relaxing and hilarious atmosphere. But, as the film strolls at a leisurely pace, many issues that are still relevant today begin to flower; namely that of race. And, while this is clearly a Black film, Lee isn’t afraid to point out the hypocrisy in his race’s oppression. Lee’s BlackKklansman tells a thrilling true story via a historical lecture whereas Do the Right Thing opens a discussion, one that shares a perspective, warts and all.
Witty writing? Check. Racial overtones? Yep. A quirky premise? Yes and yes. The last thing on the Spike Lee checklist is his visual signature; cinematography that simultaneously blends into the film like a team player happy to pass the ball but also isn’t afraid to take centre stage and take the shot themselves. Many have spoken on the vibrant and warm colours and how you can feel the heat through the screen (which you can), but what sticks with me is Lee’s willingness to experiment. When Mookie and Tina (Rosie Perez) share their first on-screen kiss, the same shot is repeated, emphasising the pair’s connection but also hinting at their incompatibility.
Or, as various characters share their racist internal thoughts, the camera closes in on them. But, in the final iteration of the sequence, Mister Señor Love Daddy (Samuel L. Jackson) moves closer to the camera and begins preaching about love, breaking both the visual and thematic continuity.
Lee has created a time capsule that is still relevant today – a line which is said about many pieces but few are as poignant as this. Do the Right Thing doesn’t start on its message, instead it eases into it by creating a connection between filmmaker and audience before pulling the trigger. Its patience makes it more than an important film, it makes it an experience that picks at your brain for far longer than the modern, off-the-shelf biopic that I’ve come to expect. And yet it still surprises; this was not the first time I watched this raw masterpiece and it certainly won’t be the last because that’s the right thing to do.