Do the Right Thing: A Reflection on Racial Tensions, Responsibility, and the Complexity of Justice

Spike Lee’s Do the Right Thing remains a timeless and searing exploration of racial tensions, systemic oppression, and community dynamics. Released in 1989, the film zeroes in on a single day in a Brooklyn neighborhood as it simmers to a boiling point, culminating in a tragedy that raises eternal questions: What exactly is the right thing? Who bears responsibility for the chaos, the violence, and the death of Radio Raheem? And, perhaps most hauntingly, what could the Black residents of the neighborhood have done when they were left with so few options?

At the heart of Do the Right Thing lies a web of themes: racial inequality, economic disparity, gentrification, police brutality, cultural pride, and the cyclical nature of violence. These themes manifest through Sal’s Famous Pizzeria, a business owned by an Italian-American family in a predominantly Black neighborhood. Sal’s is both a source of nourishment and a simmering site of discontent, with customers like Buggin’ Out questioning why the restaurant’s "Wall of Fame" features only Italian-American figures in a community where Black culture is dominant.

What Was the "Right Thing"?

The film’s title is intentionally ambiguous. Each character’s actions can be interpreted differently depending on one’s perspective. Mookie, played by Spike Lee himself, ultimately throws a trash can through Sal’s window in the wake of Radio Raheem’s death at the hands of the police. Was this an act of justice? Was it a release of communal rage? Or was it a calculated move to redirect anger toward property rather than people? The "right thing" is never explicitly defined, which mirrors the complex, gray nature of the film’s subject matter.

Who Was Wrong? Who Was Right?

No one in Do the Right Thing is entirely innocent, yet the system itself—rooted in racial inequality and economic exploitation—is the ultimate antagonist. Sal and his sons, Pino and Vito, represent different approaches to cultural tension. Sal has a paternalistic affection for the neighborhood but remains deeply entrenched in his own privilege, refusing to acknowledge the validity of Buggin’ Out’s request for representation on the Wall of Fame. Pino’s overt racism contrasts with Vito’s quieter desire to coexist, reflecting the generational and personal variances in how prejudice manifests.

The police, as embodied in the brutal killing of Radio Raheem, are unequivocally wrong. Their violent response to a fight at the pizzeria—escalated by years of simmering tensions—highlights the systemic racism that reduces Black lives to collateral damage. However, the blame does not rest solely on law enforcement. The broader society that perpetuates economic inequities, denies Black entrepreneurship, and places profit over people shares responsibility.

What Were the Black Residents Supposed to Do?

The question of what the Black community could or should have done underscores the oppressive weight of systemic inequality. Boycotting Sal’s, as Buggin’ Out suggests, is one option, but it comes with challenges. Sal’s is one of the few establishments in the neighborhood offering affordable food. The lack of Black-owned businesses is not a failure of the residents but a reflection of systemic barriers to ownership and investment in marginalized communities.

The film forces viewers to confront the cyclical nature of frustration and rage within such systems. When Black residents are left without economic power or political agency, their options for resistance become limited—a reality that remains relevant today.

Who Was to Blame for Radio Raheem’s Death?

Radio Raheem’s death is the result of a confluence of factors: individual prejudices, unchecked authority, and systemic injustice. While the immediate blame lies with the police officers who used excessive force, the larger culpability lies in a society that allows such brutality to persist. Sal’s refusal to de-escalate the situation and the broader racial tensions of the neighborhood also play a role. In the end, Radio Raheem becomes a symbol of how systemic failures turn individuals into casualties.

The Modern-Day Parallels

The issues explored in Do the Right Thing are as urgent now as they were in 1989. Brooklyn, like many urban areas, has undergone significant gentrification, bringing new economic opportunities but also displacing long-term residents and exacerbating racial and economic divides. The influx of wealthier, often white residents has led to a cultural erasure of historically Black and brown neighborhoods, creating tensions that echo the dynamics seen in the film.

Police brutality and systemic racism also remain pressing concerns. The deaths of George Floyd, Eric Garner, and countless others mirror the tragedy of Radio Raheem, reminding us that the fight for justice is far from over. Meanwhile, the lack of Black ownership in gentrified neighborhoods continues to limit economic mobility and agency for communities of color.

The Unresolved Questions

Spike Lee does not offer easy answers, and that is precisely what makes Do the Right Thing so powerful. The film challenges viewers to grapple with their own biases, question the systems they participate in, and consider what "the right thing" truly means. In a world still grappling with the same issues, the film remains a call to action—not for any one solution but for a collective reckoning with injustice.

As Brooklyn’s skyline changes and new businesses take root, the story of Sal’s Pizzeria and the tragedy of Radio Raheem serve as reminders of the stakes of neglecting equity and justice. The aesthetics may look different in 2025, but the underlying struggles remain the same: who gets to belong, who gets to thrive, and who bears the cost when the balance is disrupted?