In the Heat of the Night (1967)
In the Heat of the Night (1967)
1967’s In the Heat of the Night is an incredibly tense, racially-charged drama that is very important and relevant-back in 1967 and in today’s racially-tense world. The film came out during the Civil Rights Movement and only a few years after the Civil Rights Act and Voting Act were enabled. It was a tense time for the traditional South, and this movie accurately depicts that tension in the small town of Sparta, Mississippi. This is one of the first movies to show black people in a fair, positive light when opposed to white people. It’s a movie about wary townsfolk not keen on outsiders and so forth. The drama is intense and sometimes chilling. But in the end, director Norman Jewison and star Sidney Poitier gave us one unforgettable movie.
The film was based off John Ball’s bestselling novel and adapted to the screen by Stirling Silliphant. The screenplay is powerful and boasts some incredible lines of dialogue which are expertly delivered by Poitier and Rod Steiger. I am amazed the film turned out the way it did considered the time period and the filming locations. Norman Jewison did have run ins with the Southern authorities, and it is common knowledge that Poitier refused to film south of the Mason-Dixon line with the exception of one scene- the scene where they drive through a cotton field. After all, can you really blame Poitier for being so cautious?
This film is about a man named Virgil Tibbs (Sidney Poitier) who is wrongfully arrested for the murder of a businessman. The chief of Sparta’s police force, Gillespie (Rod Steiger) quickly learns that they arrested the wrong guy. In fact, Tibbs happens to be the number-one homicide detective in Philadelphia. Gillespie reluctantly recruits Tibbs to help him solve this murder. Tibbs accuses the most powerful man in the county of the murder because this man, Endicott has the most to lose with the businessman’s arrival. As the case progresses, Tibb’s involvement becomes increasingly dangerous. Can Tibbs make it through alive before the murder is solved?
This may be Sidney Poitier’s best film. Poitier had admitted this is his favorite film he participated in. He and Rod Steiger showed off some amazing chemistry. You can see how the feelings these two men share for one another change as the movie progresses. From pure hatred to a begrudging respect to somewhat pals. They do threaten to go into overacting at times but blame that on the racial tension. The two men deliver their lines with such precision. Of course, keep an ear out for the famous “they call me Mister Tibbs” line. These two men are given fine supporting turns from Warren Oates as one of the dimwit police officers and Lee Grant as Mrs. Colbert. Also, Scott Wilson has a very early-career role here.
The film has a powerful screenplay, tremendous acting performances, and skilled direction, but there are two more things to praise: the music and the cinematography. The score by Quincy Jones is angry and sad as it uses appropriate bluesy tunes. Also, the Ray Charles song is excellent and unforgettable. I need to talk about Haskell Wexler’s camera work. This film is known as the first film to actually give the proper lighting to a man with darker complexion. That way, they can actually be given proper photographic treatment and it does all the wonders!
Between Guess Who’s Coming Home for Dinner and now In the Heat of the Night, Sidney Poitier certainly had one important banner year. He became the top black actor in the United States. His retaliatory slap scene to Endicott is one of the most important, awe-inspiring scenes in the movie. In fact, Jewison and Poitier would visit one of the cinemas in New York City just to check out the reactions of black versus white people during that one particular scene. This movie is intense from the start and never lets up. It is a monumental cinematic success and definitely earns its Best Picture win.
My Grade: A-
1967’s In the Heat of the Night is an incredibly tense, racially-charged drama that is very important and relevant-back in 1967 and in today’s racially-tense world. The film came out during the Civil Rights Movement and only a few years after the Civil Rights Act and Voting Act were enabled. It was a tense time for the traditional South, and this movie accurately depicts that tension in the small town of Sparta, Mississippi. This is one of the first movies to show black people in a fair, positive light when opposed to white people. It’s a movie about wary townsfolk not keen on outsiders and so forth. The drama is intense and sometimes chilling. But in the end, director Norman Jewison and star Sidney Poitier gave us one unforgettable movie.
The film was based off John Ball’s bestselling novel and adapted to the screen by Stirling Silliphant. The screenplay is powerful and boasts some incredible lines of dialogue which are expertly delivered by Poitier and Rod Steiger. I am amazed the film turned out the way it did considered the time period and the filming locations. Norman Jewison did have run ins with the Southern authorities, and it is common knowledge that Poitier refused to film south of the Mason-Dixon line with the exception of one scene- the scene where they drive through a cotton field. After all, can you really blame Poitier for being so cautious?
This film is about a man named Virgil Tibbs (Sidney Poitier) who is wrongfully arrested for the murder of a businessman. The chief of Sparta’s police force, Gillespie (Rod Steiger) quickly learns that they arrested the wrong guy. In fact, Tibbs happens to be the number-one homicide detective in Philadelphia. Gillespie reluctantly recruits Tibbs to help him solve this murder. Tibbs accuses the most powerful man in the county of the murder because this man, Endicott has the most to lose with the businessman’s arrival. As the case progresses, Tibb’s involvement becomes increasingly dangerous. Can Tibbs make it through alive before the murder is solved?
This may be Sidney Poitier’s best film. Poitier had admitted this is his favorite film he participated in. He and Rod Steiger showed off some amazing chemistry. You can see how the feelings these two men share for one another change as the movie progresses. From pure hatred to a begrudging respect to somewhat pals. They do threaten to go into overacting at times but blame that on the racial tension. The two men deliver their lines with such precision. Of course, keep an ear out for the famous “they call me Mister Tibbs” line. These two men are given fine supporting turns from Warren Oates as one of the dimwit police officers and Lee Grant as Mrs. Colbert. Also, Scott Wilson has a very early-career role here.
The film has a powerful screenplay, tremendous acting performances, and skilled direction, but there are two more things to praise: the music and the cinematography. The score by Quincy Jones is angry and sad as it uses appropriate bluesy tunes. Also, the Ray Charles song is excellent and unforgettable. I need to talk about Haskell Wexler’s camera work. This film is known as the first film to actually give the proper lighting to a man with darker complexion. That way, they can actually be given proper photographic treatment and it does all the wonders!
Between Guess Who’s Coming Home for Dinner and now In the Heat of the Night, Sidney Poitier certainly had one important banner year. He became the top black actor in the United States. His retaliatory slap scene to Endicott is one of the most important, awe-inspiring scenes in the movie. In fact, Jewison and Poitier would visit one of the cinemas in New York City just to check out the reactions of black versus white people during that one particular scene. This movie is intense from the start and never lets up. It is a monumental cinematic success and definitely earns its Best Picture win.
My Grade: A-
Comments
Post a Comment