Scarlet Masque Theatre Journal New Beginnings and Fond Farewells Vol. 1 | Page 80

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and watches from the curb. Perfect.
The interpretation of Mookie as literally Spike Lee deserves attention, as it raises some
interesting questions. One such question was asked directly to Lee in Kunen’s review. Lee’s
answer? “I think all of black America threw that can. Black America is tired of having their
brothers and sisters murdered by the police for no other reason than being black” (Kunen). This
cryptic answer suggests a deeper context than what Klein ascribes to the provocation— “one of
the stupider, more self-destructive acts of violence I’ve ever witnessed.”
The message that these critics are conveying here is equally clear as their response to
Lee’s portrayal of Brooklyn—Mookie (and Lee by extension) does not do the right thing. Indeed,
his actions may incite outrage in the real world: “if black kids act on what they see, Lee may
have destroyed his career in that moment” (Klein). Of course, Lee has responded to this claim
as well, that the riot black audiences see in this film will spur them into riotous action in the
streets:
[It is insane that] journalists like Joe Klein and David Denby felt that this film was going
to cause riots. Young black males were going to emulate Mookie and throw garbage
cans through windows. Like, “How dare you release this film in summertime: ​ You know
how they get in summertime, this is like playing with fire ​ ” (Hill).
Kunen speaks more sympathetically to this argument, interviewing a resident of the real
Bed-Stuy to gather their opinion. He chronicles one woman’s testimony to the state of Brooklyn
in the real world:
“They’re rioting right here now,” says Mary Little, 45. “They don’t have to go see a