Mise-En-Scene In Buggin Out And Sal's Pizzeria

There are exceptional aspects of mise-en-scene in Spike Lee’s film. Towards the end of the film, Radio Raheem (Bill Nunn) and Buggin Out (Giancarlo Esposito) come to Sal’s Pizzeria. Before that, the audience sees a shot of the two talking on the street from (Lee, 1989: 01:26:00-01:30:30). Camera zooms in on an extreme close- up shot of Raheem’s radio. Then the camera focuses on the two men as they discuss Sal’s attitude towards them. The angle of the camera is downwards, so we see the men as superior entities. Perhaps this indicates that the discussion they are having is genuine and that they have power or that the issue they are discussing is of extreme importance and there way of thinking is valid. Over the course of the movie, we see photographs

It’s Public Enemy’s “Fight The Power”. The camera cuts to a canted low angled tight medium three shot consisting of Radio Raheem, Buggin’ Out, and Smiley. The camera pulls back to a wide angle medium shot, not tracked but most likely using a handheld camera as indicated by the unsteady nature of the withdrawal. The camera has pulled back to a position suggesting it is just in front of the counter and then stabilizes. Buggin’ Out spits on the floor, then he and Raheem walk toward the camera still at a canted angle. The lighting gets lower key as they enter the shadows surrounding them. The camera cuts to a high angle canted wide medium shot of Sal, He confronts the men about the loud music, talking somewhat off camera to frame right, indicating he is addressing Raheem. Quick cut to a canted medium two shot of Raheem and Buggin’ Out yelling back at Sal, with Smiley silently in the background between the two large men. Cut to a reverse-shot of Sal responding loudly back. Quickly cut to a reverse shot of Raheem staring intently while Buggin’ Out continues his verbal barrage towards Sal. By now the viewer sees where this is headed, the tension has built to a level where it was bound to overflow. This is of paramount