Salvatore "Sal" Fragione is the Italian owner of a pizzeria in Brooklyn. A neighborhood local, Buggin' Out, becomes upset when he sees that the pizzeria's Wall of Fame exhibits only Italian actors. Buggin' Out believes a pizzeria in a black neighborhood should showcase black actors, but Sal disagrees. The wall becomes a symbol of racism and hate to Buggin' Out and to other people in the neighborhood, and tensions rise. | |
Release Date: | Jun 14, 1989 |
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Director: | Spike Lee |
Writer: | Spike Lee |
Genres: | Drama |
Keywords | new york city, italian american, police brutality, hip-hop, culture clash, street war, heat, restaurant critic, radio transmission, punk rock, chaos, police operation, pizzeria, pizza, love, money, racism, brooklyn, new york city, heatwave, race relations |
Production Companies | Universal Pictures, 40 Acres and a Mule Filmworks |
Box Office |
Revenue: $37,300,000
Budget: $6,500,000 |
Updates |
Updated: Aug 26, 2025 Entered: Apr 13, 2024 |
Name | Job |
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Jon Kilik | Line Producer |
Barry Alexander Brown | Editor |
Wynn Thomas | Production Design |
Danny Aiello III | Stunt Double |
Eric Payne | Stunts |
Spike Lee | Director, Screenplay |
Eddie Smith | Stunt Coordinator |
Dominic Marcus | Stunts |
John Newby | Camera Operator |
Millicent Shelton | Wardrobe Assistant |
Mharaka Washington | Stunt Driver |
Erik Koniger | Stunts |
Preston L. Holmes | Production Supervisor |
R.W. Dixon | Unit Manager |
Susan D. Fowler | Production Coordinator |
Frank Prinzi | Camera Operator |
Paul Reuter | Assistant Camera |
David Lee | Still Photographer |
Jeff Balsmeyer | Storyboard Artist |
Kevin Ladson | Props |
Keith Wall | Lead Set Dresser |
Michael L. Benson | Set Dresser |
Martin Bernstein | Construction Coordinator |
Rex North | Dolly Grip |
Erich Augenstein | Grip |
Charles Houston | Gaffer |
John O'Malley | Electrician |
Christopher Vanzant | Electrician |
Jeffrey Stern | Dialogue Editor |
Alex Steyermark | Music Editor |
Bruce Pross | Sound Editor |
Marissa Littlefield | Assistant Sound Editor |
Karen Perry | Assistant Costume Designer |
Sarah Hyde Hamlet | Extras Casting |
Bob Hagans | Color Timer |
David S. Lomax | Stunts |
Darnell Martin | Second Assistant Camera |
Rashon Khan | Stunts |
Roy Thomas | Stunts |
Brent Owens | Location Manager |
Robin Downes | Assistant Production Coordinator |
Joe Gonzalez | Script Supervisor |
Bob Gorelick | Assistant Camera |
Andrew Schmetterling | Boom Operator |
Pam Stephens | Art Department Coordinator |
Mark Paul Selemon | Props |
Scott Rosenstock | Leadman |
Anthony Baldasare | Set Dresser |
Thomas Hudson Reeve | Set Dresser |
Paul Wachter | Best Boy Grip |
John Archibald | Grip |
Roger Kimpton | Grip |
Serge Mihajlov | Electrician |
James Boorman | Electrician |
Philip Stockton | Supervising Dialogue Editor |
Gail Showalter | Foley Editor |
Eugene Gearty | Sound Editor |
James Flatto | Assistant Sound Editor |
Marko Costanzo | Foley Artist |
Valerie Gladstone-Appel | Seamstress |
Andrea Reed | Casting Assistant |
Cheryl Ann Scott | Craft Service |
Jeffrey Rollins | Set Dresser |
Dennis Bradford | Assistant Art Director |
Octavio Molina | Property Master |
Andrew Lassman | Props |
Jon Rudo | Assistant Set Decoration |
James R. Bilz | Set Dresser |
Robert Ippolito | Key Grip |
Rodney Bauer | Grip |
Donald Bialer | Grip |
Val DeSalvo | Best Boy Electric |
Derrick Still | Generator Operator |
Tula Goenka | Assistant Editor |
Brunilda Torres | ADR Editor |
Rudy Gaskins | Sound Editor |
Stuart Stanley | Sound Editor |
Nic Ratner | Assistant Sound Editor |
Jennifer Ruscoe | Wardrobe Supervisor |
Marianna Najjar | Makeup Artist |
Sam Mattingly | Unit Publicist |
John Nicolard | Color Timer |
Steve Rosse | Set Decoration |
Matiki Anoff | Makeup Artist |
Tony Martinez | Sound Editor |
Andy Duppin | Stunts |
Tom Fleischman | Sound Re-Recording Mixer |
Larry M. Cherry | Hairstylist |
Randy Fletcher | First Assistant Director |
Gary Frith | Stunts |
Malcolm Livingston | Stunts |
Christopher Lopez | Second Second Assistant Director |
Lillian Pyles | Production Office Coordinator |
Robert F. Nickson | Production Controller |
Jonathan Burkhart | First Assistant Camera |
George Pattison | Camera Operator |
Frank Stettner | Sound Recordist |
Ruth E. Carter | Costume Design |
Skip Lievsay | Sound Designer |
Steve Kirshoff | Special Effects |
Bill Lee | Original Music Composer |
Ernest R. Dickerson | Director of Photography |
Robi Reed | Casting |
Nandi Bowe | Second Assistant Director |
Name | Title |
---|---|
Spike Lee | Producer |
Monty Ross | Co-Producer |
Organization | Category | Person | |
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Venice Film Festival | Best Director | Spike Lee | Won |
Popularity History
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2024 | 4 | 26 | 40 | 17 |
2024 | 5 | 34 | 45 | 25 |
2024 | 6 | 30 | 43 | 19 |
2024 | 7 | 27 | 53 | 16 |
2024 | 8 | 19 | 26 | 14 |
2024 | 9 | 18 | 36 | 10 |
2024 | 10 | 24 | 52 | 12 |
2024 | 11 | 17 | 27 | 9 |
2024 | 12 | 16 | 20 | 12 |
2025 | 1 | 17 | 33 | 12 |
2025 | 2 | 16 | 37 | 3 |
2025 | 3 | 6 | 18 | 1 |
2025 | 4 | 5 | 12 | 2 |
2025 | 5 | 4 | 11 | 2 |
2025 | 6 | 3 | 7 | 2 |
2025 | 7 | 2 | 3 | 2 |
2025 | 8 | 2 | 4 | 2 |
2025 | 9 | 3 | 4 | 2 |
2025 | 10 | 5 | 5 | 4 |
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2025 | 10 | 876 | 876 |
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2025 | 9 | 396 | 684 |
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2025 | 7 | 754 | 844 |
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2025 | 6 | 545 | 837 |
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2025 | 5 | 539 | 681 |
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2025 | 4 | 450 | 664 |
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2025 | 3 | 755 | 917 |
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2024 | 10 | 974 | 974 |
_**When someone does the wrong thing and others react the wrong way**_ On a hot summer day in a predominantly black neighborhood in Brooklyn, one person makes the wrong decision and sets off a chain of events that results in havoc. Rosie Perez is a highlight on the feminine front. “Do the Righ ... t Thing” was Spike Lee’s breakthrough film that he made when he was 31. It’s a stylish and spirited account of a mostly black community in New York City that’s well-rounded with drama, humor, entertainment, honesty and tragedy. On the one hand, this neighborhood seems like a pleasant enough place to live, if you don’t mind the big city. The characters are not painted as one-dimensional, generally speaking; they have both attributes and faults. Yet it’s a relatively peaceable environment with the various races/ethnicities getting along just fine with only minor (and amusing) altercations. Nevertheless, it’s a tinderbox that doesn’t take much to set aflame. The last act leaves a bad taste. I can’t believe Lee had the gonads to be this honest, but he shows why most people don’t want to live or do business in black neighborhoods, including many blacks. While people debate who’s right and who’s wrong, it’s simple to figure out: Buggin Out taking offense about something immaterial at Sal’s pizzeria is unjustified. If he thinks it’s that big of a deal he doesn’t have to dine there, plus he can start his own restaurant and decorate it however he wishes. At the same time, it could be argued that Sal should’ve reacted in a wiser way that turned away Buggin Out’s curious anger, rather than augment it. Meanwhile Radio Raheem makes a foolish decision by allowing Buggin Out to negatively influence him. Why can’t they just do the right thing? It’s frustrating. This is a well-made classic and worthy of its iconic status, it’s just not exactly my cup of tea due to the exasperating last act that’s too brutally honest. How about doing the right thing by making art that inspires hope, unity and healing for inner city communities? This piece points to the problem, inspires questions & debates, but offers no solutions except… move away from black neighborhoods. The film runs 2 hours and was shot in Bedford-Stuyvesant, Brooklyn. GRADE: B-
Whilst there can be no doubt of the potency of the theme here, I thought the nature of the story telling was all over the place and angry. With temperatures rising, literally and metaphorically, the bored youth of an area of Brooklyn are becoming more and more frustrated. The thrust of these frustra ... tions is epitomised by a battle of wills between Italian American pizzeria owner "Sal" (Danny Aiello) and his growing number of African American clientele. His walls are covered with famous faces - Al Pacino, Frank Sinatra, etc. from his heritage but his new customers feel that they are under represented. "Sal" isn't about to be bullied into anything, and to be fair to Spike Lee he does cleverly use this slow burning fuse to illustrate an whole slew of racial attitudes amongst a diverse community where change was coming - like it or not. As the heat shows no sign of abating, tempers finally flare and a denouement results in quite some eye-opening tragedy that though effective, I found completely anachronistic. It's told very much from one perspective but not puritanically. I think that might actually exacerbate my dislike of the proceedings because what appears to be happening to a decent and hard working American citizen is that he is being bullied, coerced and ultimately violated because he won't abandon his own traditions in favour of someone else's. It's cunningly depicting a change of identity for this community in a survival of the fittest fashion that I found quite intimidating. This isn't really about the characters themselves, more about the politics of a situation that became more and toxic as people left their conciliation hat at the door of reason on their way in. The dialogue struggled to get past the fu section of the dictionary and that just compounded the sense that it was more of a not so subtle rant than a story of respect offering any decent form societal evolution and equality. Maybe Lee would do it differently now? As it is, it's raw - but not in a good way.