The Analysis of the American Film History - Essay Example

Visual Arts & Film Studies 7 April The Significance of ‘Do the Right Thing’ in US Independent Cinema History In the earlier times, people went to a movie theatre if they wanted to be entertained. Entertainment in the conventional sense meant being able to laugh, cry, scream (out of fright), to be in love or to just watch some story which has been tried and tested to click with the movie-going public. Quite often these kinds o f stories are aptly called “formula” stories which are being used and re-used, then tweaked just a bit to make the plot more appealing and fresh. In the recent decades, however, more and more independent films have been making their way into the mainstream and earning accolades on their film’s own respective merits. Now what is an independent film? An independent film is defined as a motion picture released by an autonomous film company which is not the part of the so-called “Big 6” or the top six film studios that monopolize the US and Canada movie market. Some people may not be sensitive about this when watching movies, but it should be noted that if the film is the one created by Warner Bros., then it’s been made by one of the “Big 6” companies. The others included in this list are the following: Columbia Pictures, Paramount Pictures, 20th Century Fox, Universal Pictures, and Walt Disney Studios (Cieply, 2009). Throughout American film history, there have been sporadic attempts by independent film producers to create movies that are experimental, less formulaic and more offbeat in contrast to their contemporaries. However, it was only during the 1980s (and onwards) that independent films were able to gain that window of opportunity to make their presence being felt in the industry. It is taken for granted that producers of ‘Indie films’ (short for Independent films) work on a lower budget making these types of films but what makes them stand out from the others is the somewhat atypical story, or sometimes, it’s the treatment of the subject matter itself, which these types of films usually tackle. As one article states: “A films Indie label carries with it this mode of independence in storytelling where studios dare not go… This risk-taking is beyond low-budget films, with high acclaim and no box-office, inspired by triumphant tales in independent filmmaking” (Cangialosi, 2010). In a way, this reflects the rebellious nature of either the director or the producer of the film, which is somehow going against the tide or thinking outside the box. Nevertheless, this has tremendously, positively helped in uplifting the film industry to be more audacious and have more guts in using the silver screen as a vehicle for educating and focusing on current concerns or issues, which somehow have been relegated to the back burner. Stretching the boundaries a bit has also led to the enriched artistry and creativity frequently found in films of this type. An example of such a film is Do the Right Thing, which is a 1989 motion picture, directed by Spike Lee and released in the US under almost unknown film production outfit called 40 Acres and A Mule Filmworks. The film was first shown more than two decades ago, and yet the values presented in it are as relevant now as they have been at that time, hence, it is no wonder that this movie was nominated for and actually won several awards from prestigious award-giving bodies. In an interview by Donna Britt of the Washington Post, when asked about the possibility of his work inciting riots or making people angry, Lee replied “My films are designed to provoke thought and discussion about the number one issue in my eyes: racism. People are under the illusion that racism is gone, dormant, a thing of the past” (Britt, 1989). The film initially shows mutual tolerance towards multiple races in this ghetto neighborhood, but then later on, the situation becomes volatile, and it culminates in a riot with a landmark location being burned down. Viewing the film in its entirety does not really instigate violence or rebellion. Instead, it becomes an eye-opener for a lot of people especially with regards to the character of Mookie, who acts as a mediator between Sal and the blacks for the most part of the film, and then later on eventually sides with his black brothers as he loses control over his emotions and the entire situation. The issue of apartheid or racial discrimination has often been used as the topic for films. However, for the most part, these films have been created from a white man’s perspective and not very often from the black person’s point of view. Not that Lee thinks less of films directed by white directors, as he quotes “I’m not saying a white filmmaker cannot do an honest, realistic portrayal of black people… I am saying that in those specific instances, and most of the instances [involving] Hollywood filmmakers, their perception of Black people just contaminates the work” (Sterritt, 1989). Lee makes use of an actual ghetto neighborhood for this movie, with the authentic activities being done by blacks on the street like young men having their radios on in full blast, old ladies having their hair combed on the front steps of their house, children on the sidewalk, teenagers fooling around with a fire hydrant to cool themselves down on a hot day, etc. From the foul language to the regular sidewalk banter, Lee tries to paint a truly realistic view of one regular day in a black community. In other words, Lee attempts to present the situation as it is without any frills or embellishments. Aside from the actual mise-en-scene detailing the black neighborhood, Lee adds the elements of dialogue, music, graffiti, and final quotations to complement and achieve the overall effect of relating the apartheid issue to other recent concerns. The phrase “Wake up!” which starts the film when Mookie wakes up her sister is actually a call to the viewer to be aware of the issue of black discrimination. In terms of music, the song “Fight the Power” which was the staple song being played on Radio Raheem’s boom box is also another call to the viewers, specifically blacks, to empower themselves and not dwell in complacency. The graffiti “Tawana told the Truth” in the background while Mookie and his sister argued is said to be about Tawana Brawley’s rape allegations during that time. The final quotations by Martin Luther King Jr. and Malcolm X also enlightens the viewer further on the director’s perspective on violence and how it can be useful as a means to an end. Historically, the film Do the Right Thing contributed significantly in raising the level of acceptance of independent films in US cinema. It is interesting to note that “the 1980s and 1990s, for many Americans, was a time of great social and political unrest. As was the case elsewhere in the world, tensions surrounding race, sexual inequality, homophobia and poverty all predominated” (Shaw, 2002). As such, it is worth mentioning that Director Spike Lee’s achievement of creating this film and having it released at such an unstable period was a bold step towards establishing a milestone not only for his career as a budding director then, but also for the future of indie films. Other films which have been hailed as classic independent films for the period are Stranger Than Paradise by Jim Jarmusch (1984) and The Elephant Man by David Lynch (1980). Despite all these three being independent films, the only similarities among them lies in their being produced by small-scale film productions and the uncommon narratives/plots used by each. Both Stranger Than Paradise and The Elephant Man were filmed in black and white, as compared to Do The Right Thing which was shot in full color. In terms of plot, The Elephant Man is based on a true story about a deformed man, while Stranger Than Paradise is an unusual story about three people – 2 men and a woman – and their adventures while travelling. It is Stranger Than Paradise which became more popular as a model for other low-budgeted independent films that followed suit since the actors who starred in the film were not popular, and the aesthetics of the film scenes were not really given much emphasis. The story of Stranger Than Paradise actually has no resolution, as with Do The Right Thing. It is like just filming a specific time frame in the life of one person, or several persons, and then it is handed over for the public to view, and it’s up to the viewer to make his/her own conclusions as to what this story relates. Just like in Do The Right Thing, Lee doesn’t become preachy or overly-sentimental at the ending of the film just to come up with a “happy ending” which most “Big 6” productions are fond of churning out. As Lee himself states: “I think [audiences] can accept something that’s more real and truthful” (Steritt, 1989). There is a long list of independent films which followed after these above cited movies, especially with the advent of Robert Redford’s Sundance film festival in the mid-80s. It was from then on that “filmmakers around the world started to take notice” (“When was the Independent Film Industry Born?”, n.d.), and as advances in film technology became available from the 90s onwards, “The process of filmmaking can now be in the hands of anyone with a little bit of money and a great idea for a movie” (“When was the Independent Film Industry Born?”, n.d.). Independent films are no longer just a flash in the pan thing. They are now effective media for directors and film producers who are just starting out in the business. Likewise, independent films no longer merely connote low quality film outputs. With a little ingenuity, a lot of artistry, and a mega ration of guts, coming up with a film that is marketable, significant, yet very substantial is not really impossible. And definitely, that’s what the film Do The Right Thing was able to achieve. Works Cited Cieply, Michael. "Down in Front? Not in Hollywood." New York Times. 25 Apr. 2009. Web. 5 Apr. 2012. Cangialosi, Jason. “Independent Film: A History and Future.” Yahoo . 14 Sept. 2010. Web. 5 Apr. 2012. Sterritt, David. “Spike Lee’s Hotly Debated New Film.” The Christian Science Monitor. 27 June 1989, Proquest Historical Newspapers Christian Science Monitor (1908-1997) p. 15. Web. 6 Apr. 2012. Britt, Donna. “Director Spike Lee’s Wake-up Call.” The Washington Post (1974-Current File) 30 June 1989, Proquest Historical Newspapers the Washington Post (1877-1994) pg. B1. PDF File. 6 Apr. 2012. “When Was The Independent Film Industry Born?” Make Independent Films. n.d. 2007. Web. 6 Apr. 2012. Read More