Do The Right Thing Editing, mise-en-scene and Cinematography Analysis

 

Editing in Do The Right Thing

- Montage, cross-cutting, and continuity

Do The Right Thing is effective in showing an authentic environment, not just through the characters and staging, but also through the dutch angles and warm colour palette to heighten tension and heat of the urban setting within scenes. Although all these elements are important in telling the candid narrative, especially in accentuating the climax, the editing is crucial in acting as the foundation for the film's continuity between characters and messaging, which goes largely unnoticed - making it impressive. 

One example of the film's continuity is through its unconventional montage. This sequence happens after the racial discussion between Mookie and Pino, which also has interesting editing. For example, the characters are staged opposite each other with a noticeable negative space between them, separating their relationship as they separate their views and opinions. This scene serves more as a confrontation to Pino's hypocrisy in claiming the black celebrities he admires are unlike the black people within his own community who financially support his family's business, unlike the named black celebrities he idolises. This distance allows the spectator to see the opposing sides, and as the camera tracks on a dolly opposite to settle in a mid-shot, the spectator is placed within this discussion. Spike Lee, therefore, places the spectator within the underlying prejudices and hypocrisies of the argument, which can act to reflect our own unconscious/conscious beliefs regarding race. This is used frequently in the film and yelled at the spectator in the coming montage. As the argument becomes more apparent that Pino holds unfair discrimination towards black people, the editing shifts to close-ups of each character, each framed on opposite sides to aid the spectator in viewing them as separate, yet their prejudices against each other's culture are mirrored. In addition, there are sound bridges from the other character as the shot cuts to the close-ups, furthering the idea that they are not listening to each other as the dialogue doesn't match to the shot, often cutting in the middle of their sentences, highlighting the opposing reaction that shows disbelief or ignorance. This also adds a sense of continuity to the scene as each shot is at least, audibly carried to the next smoothly. The mise-en-scene of this shot is also purposeful, particularly in reflecting Pino's protection of his Italian identity, shown in the painting of iconic Italian buildings in the middle of their discussion. This is interesting because although visually Pino seems to hold the control within the scene from his display of Italian culture, his own pizzeria setting, and the fact he is framed, both in the two-shot and close-up, to be higher than Mookie, he is being rightfully called out for his hypocrisy. This juxtaposition tells the spectator directly of the unfair assumptions and biases one may hold which directly called out the same views held at the time this was made, of which are still relevant today.

In juxtaposition, the montage afterwards unconventionally breaks the film's sense of the spectator being present yet unnoticed within the controversial topics and messaging. As the film centres around race depicted through the setting of an already heat-stricken tense neighbourhood, this montage is an abrupt breaking of the fourth wall that directly involves the spectator, as they are now ultimately being targeted with the racial slurs and stereotypes being shouted from members of the contrasting ethnicities within the community. This makes the spectator uncomfortable from such unexpected provocativeness and addresses the ethnic tensions and oppressed views of the community. This montage starts with Mookie, which could perhaps be even more unexpected to the audience as so far Pino has been the main character to express his racist beliefs, suggesting built-up, internalised prejudice, particularly those who are silent. According to Lee’s published diary, this idea is strongly suggested as messaging to the spectator: "How would audiences feel leaving the theatre? Will blacks want to go on a rampage? Will whites feel uncomfortable? Am I advocating violence? No, but goddamn, the days of 25,000,000 blacks being silent while our fellow brothers and sisters are exploited, oppressed, and murdered have to come to an end“. The camera work repeatedly dollies into each character and settles on a close-up, although noticeably wobbly which could reflect the anger and instability behind the dialogue and thus their beliefs. Ironically, an element of mise-en-scene that contrasts to the dialogue is in Pino's shot where he stereotypes the black community as 'gold-chain wearing...' when he is seen to be wearing two gold necklaces which ironically shows the spectator his contradiction and ignorance. This montage re-establishes each setting and character, connecting each shot that builds a sense of familiarity amongst the characters so that the spectator knows what to expect, despite not knowing the coming dialogue. The choice to stage each character in the centre of the frame places focus on them, as well as the fact they're all stationary. This suggests that although they are in different settings familiar to their own comfortable spaces and culture - such as Pino delivering the line in his Italian pizzeria and the police officer laying on his police car - they are fixed in their opinion, unwilling to change, ironically placing them in likeness to one another despite their drastic differences. This montage also shows the spectator that racism isn't just simply black versus white; it is deeply rooted within every member of the multicultural community, each with tailored slurs to suit their biases. Lee shows despite the fact each racial group depends on each other to keep the community alive, both economically and socially, there is still rampant racism. This is broken up by Mister Senor Love Daddy - the smooth-talking DJ that ultimately is the voice of reason within the film. He yells out to 'hold up, time out' and is the only character where the camera remains static as he moves towards the frame. This shows he is willing to change his attitudes to restore peace within the community, which also serves to direct the spectator's attention to this attitude. This montage greatly contrasts to the scene previously in which the topics of racism were discussed between Mookie and Pino so casually rather than something active and violent, which is what is shown in the montage. This shows two sides to how racism is and can be approached - the passive, calm discussion and the violent slurs, reminiscent of the final title screens of two quotes from black civil rights leaders; Malcolm X advocating for violence in self-defence; and Martin Luther King advocating for peace. Lee uses montage in this scene to comment on the abilities of all people to be racist towards each other, despite differences in opinion and race; this may be seen as comical from the ridiculous exaggeration of epithets thrown out until the spectator is targeted with stereotypes from their own race.