Do the Right Thing 4K 1989 Ultra HD 2160p

Story Movie

It's unbearable heat in New York. Asphalt is melting, cars are heated to the temperature of blast furnaces, and emaciated people, drenched in sweat, dream of spending the rest of the day under streams of cold showers ... At the same time as the thermometer ruthlessly creeps up, the blood of Brooklyn residents gradually begins to boil.

Usually, well-hidden intolerance, aggression and cruelty are irresistibly asking out, and "doing the right thing" is no longer possible. And therefore, the sweet, old, cozy Italian pizzeria "At Sala" turns into a real battlefield by the end of the day.

Review 4K Movie

The world through the eyes of the protagonist Muki, played by Spike Lee - who is also the director of Do It Right! - is a typical ghetto quarter of New York, whose population is represented by African Americans. This quarter acts as a springboard for a good farcical, slightly satirical comedy thanks to the many colorful characters, where everyone knows everyone, telling a seemingly ordinary story, everyday life, something in the spirit of a television sitcom. And you don't expect any sharp plot. But Spike Lee would not be who he is now if he did not put a picture that directly affects society. C 'Do it right!' his high-profile career began, but it began quite confidently, with many nominations for the most prestigious awards and future recognition of his work all over the world both by eminent publications and by entire academies.

Cinema 'Do it right!' surprises. Especially after the years since the film was released in 1989, you realize that this film is not typical for the disclosure of a racist issue. Not typical, at least because it does not in the least praise or even raise the opinion about African Americans, if it was not initially great. The Brooklyn quarter of Bedford-Stuyvesant, red-hot under the sultry sun, also inflames the cruel customs of the local population, which, as if having heard enough of Radio Raheem's tape recorder with the repetition of 'Fight The Power' performed by hip-hop icons Public Enemy, suddenly begins to perform a fiery appeal in the song. And the first to act is Muki, who until now seemed not an evil, pleasant guy. Although ... it will not change in the end, it will remain the same as it was before.

Muki was important for being the favorite of the entire area. Everyone knows him, they treat him warmly, despite the frank human barbs present in him. His environment was kept on the verge of an explosion - he tried to help everyone as much as possible, to bring a little more joy and meaning into the lives of many: he worked at the very least for the owner of Sal's pizzeria, gave alms to the blessed Smiley, Pino tried to reason with intolerance, and so on. And he also made the fatal throw of the trash can. However, in this situation, caused, rather, by a rash, harsh decision, it is hardly possible to impute a significant share of the blame to him. Give these people just a reason - that's what the director says, placing full responsibility on blacks. The same people who walked peacefully a couple of hours ago are now ready to revolt against the system and power. And no one asks questions - what is Sal's fault, and what will happen next, and what is the punishment? No, the crowd of ardent African Americans, seeing the violence, begins to generate violence en masse, making the usual area the epicenter of primitive rebellion. And even if you move away from the issues of ethics and morality, start thinking about what happened, you understand that there is no point. Started by a guy in a yellow T-shirt, a verbal skirmish due to an idiotic reason - the absence of black people on the Wall of Fame - grows into criminal nonsense. Moreover, the 'Wall of Fame' is located in an Italian pizzeria owned by Italians. What is the problem? Does it make sense to complain about such nonsense? Frank Sinatra and Al Pacino do not belittle anyone by their presence. Thus, at the beginning of the film, Spike Lee demonstrates the essence of any social disorder, where crime rules, a merciless malice, inspired by long-term unrest experienced by history.

Despite the fact that Sal's eldest son, Pino, did not like blacks, he did not openly express this. And the rest of the family members are so even more so, the father treated them quite normally, with many he maintained good relations. And aggression towards any idiots is a reaction to their aggression, and not anger arising from scratch. Against the background of all the business families in the quarter (and these are Italians and Korean owners of the convenience store), the general population seems worthless at all. And practically everything. Except for Mouka, no one does anything: everyone walks through the streets, hooligans with a fire hydrant, drinks, chatters, stupidly sit still and watch - that is, almost everyone does nothing at all useful either for themselves or for others. It is noteworthy that the typical stereotypical things - drugs, shootings, basketball in the end - are also not traced. By this, Spike Lee shows a rather amorphous community, which, in principle, does not care about everything in life, but which also no one bothers to live and mess around. The apotheosis is a healthy guy with a boombox, Radio Rahim, who looks endlessly into all corners of the ghetto, listens to one and only 'Fight The Power' ... and that's it. This is how his whole day passes, he is a little, not a little scourge of society, an unnecessary bum. And he still dares to drive on foreigners who have done much more than himself for these streets. Unlike the others, his actions are still unmotivated aggression. And Baggin Out, or Glyuchenny (the same guy in yellow), openly induces confusion from his own megalomania, runs into whites in different ways instead of really useful spending time, at least for himself.

The film is filled with all sorts of symbolism. Red-hot Brooklyn raises violent sentiments - an idea Spike Lee came up with while watching the TV show Alfred Hitchcock Presents. 'Fight The Power' literally translates to 'Fight Power'. If you delve into politics and various themes of the work of the Public Enemy group, you understand that the choice in favor of this particular group is extremely metaphorical. But without an excessive amount of escapism, Public Enemy first of all urged the African American population to actively express their position in life. And the text of the song, which was first performed in 'Do it right!', Does not openly call for crime, which can be thought of due to the almost constant, sometimes out of place, track present. A very important conclusion is the final appeal to quotes from Martin Luther King and Malcolm X, where even the latter (for a minute - a black nationalist) expresses the opinion that it is necessary to solve problems peacefully. Against the background of the story shown in Spike Lee's film, this thesis sounds monumental. The director accepts the mistakes of his race and kind of apologizes for them. He jeopardizes his own nation, while simultaneously reminding that anyone, regardless of skin color, can be the culprit of senseless riot. This film is a very unusual, but important humanistic appeal not to fight, not to fight because of racism. Because it will not lead to anything good, even in a universe with a fictional scenario.