In the Heat of the Night
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Movie Reviews of In the Heat of the Night
Movie Review: Cinema Milestone and Entertaining Movie
Summary: 5 Stars
Winner of best picture for 1967, In The Heat of The Night may have just been another crime thriller or murder mystery, but the profound and topical <especially at the time> subject matter elevated by the artists attached make the movie a must see for any serious film student or student of sociology for that matter. Race relations, abortion, class struggle and small town politics all play key roles in the story and all are essential to the plot - not merely convenient window dressing.
Sydney Poitier plays Virgil Tibbs, an African American detective visiting his mother in the Deep South. He hails from Philadelphia where he's the department's top-notch homicide investigator. When a wealthy businessman is found bludgeoned to death, Tibbs is arrested as a suspect by a less than competent police officer. After it's learned that Tibbs is a cop himself, he's coerced by Gilespie (Rod Steiger) the local police chief to stay in town so that he may assist with the investigation. What follows is a murder mystery full of twists, driven by realistically drawn and realized characters all embroiled in small town conventions and taboos as they deal with the disruption of outsiders intensified by the heated racial tensions which were inescapable during the late 1960's America. In The Heat of The Night may not have been the first major film to deal with race relations, nor is it certainly the last, but it's hard to name one that does it so skillfully and entertainingly. Chock full of three-dimensional characters who never come off as preachy or artificial, we never doubt their motivation or actions for a second. And just when we think we can predict what one of them is going to say or do, we're surprised to learn we're wrong. It's a film which always keeps the audience guessing and thinking.
In the lead roles, Steiger and Poitier both excel. Each man physically looks the part of their respective roles and Steiger, always a master of accents, nails the lilting tones of a middle aged Southerner perfectly. When both men are on the screen together, little else is noticed. Their exchanges are incredibly electric - two master actors displaying their craft and making it look effortless. The screenplay by Stirling Silliphant captures the flavor of the time and place wonderfully never skirting away from language, which while tame by today's standards was mature, even raw for 1967. Lee Grant gives a restrained performance as the widow of the murder victim and the only thing wanting about her portrayal is that she's not given nearly enough screen time. When her character demands that Tibbs act as lead on the case or else she'll use her wealth and influence against the town, it's neither forced nor contrived. She knows that Tibbs is simply the best person for the job and no skin color, stink of cronyism nor risk of small town cops losing face in the shadow of a high paid big city counterpart will or should sway the decision.
The movie spawned a sequel, "They Call Me Mr. Tibbs." and subsequently a long running TV series starring Carol O'Connor of All In the Family fame filling in the role of Chief Gilespie. Clearly the characters contained so much depth they could carry on with many other stories. It's arguable that for both Steiger and Poitier, few other films or roles are as identifiable or as important to their reputations or career than the ones they create here.
In The Heat Of The Night remains a groundbreaking film, but is always accessible and adheres to the cardinal rule of good film making: it's great entertainment. While today's crime stories and murder mysteries contain multiple car chases and set pieces for maximum shock value, In The Heat of The Night quietly and powerfully still stands up and remains still relevant. Recently, the US Supreme Court's Sandra Day O' Connor retired from the bench and the candidate to fill her position had controversy swarming all about him - specifically in regard to Roe VS Wade. For while race relations have calmed and small towns may no longer be the places of absolute intolerance to minorities as in days past, the issues of abortion, class struggle and full equality for our multi ethnic society still demand our full attention and energies.
Movie Review: Cinema's all-time best detective thriller.
Summary: 5 Stars
Between the dark film noir of "The Maltese Falcon" and the creepy gorefests inspired by "The Silence of the Lambs," the detective film wasn't exactly a vital film genre. But at least one entry into the genre made a major impact during those years, and that was 1967's "In the Heat of the Night." Since it was released, much has been made of the movie's status as a powerful story of race relations during the time of segregation, but the fact is, these elements are somewhat secondary to its brilliant character studies and expertly-handled mystery investigation. This is THE detective film, and quite possibly THE police film as well.The film begins with Bill Gillespie (Rod Steiger) -- sheriff of the small town of Sparta, Mississippi -- investigating the scene where a powerful businessman has been murdered. Gillespie's deputies arrest a traveller named Virgil Tibbs (Sidney Poitier) for the murder simply on the grounds that he is black, but he turns out to be a homicide detective from Philadelphia who was just passing through. After being cleared, Tibbs is anxious to leave Sparta, but Gillespie -- in need of such an expert -- convinces him to stay and help solve the case. And from there, we have our movie.
Besides the story, the main thing "In the Heat of the Night" has going for it are the performances of its lead actors. It would have been incredibly easy to portray Tibbs as a noble black crusader, forced by his innate nobility to offer his help in the face of hatred (Poitier had played this type of good-natured gentleman in many of his other films). It would have been even easier for Gillespie to come off as a mindless racist redneck. Neither description comes anywhere close to describing the characters in this film. Virgil Tibbs is arrogant and aloof when we first meet him. He's no hero; he's a real human being who reacts to the way the Sparta police have treated him in the understandable manner of trying to get out of town as quickly as possible. He doesn't want to help them, and even when he's forced to, he lets his prejudices against Southern whites cloud his investigation (Tibbs spends the majority of the film believing one of the victim's business rivals -- a detestable racist -- to be the murderer, only to be proven wrong).
If Poitier's portrayal of Tibbs as a realistic human being rather than a flawless screen hero is admirable, then Rod Steiger's handling of the Sheriff Gillespie character is downright masterful. Bill Gillespie does not like or trust African-Americans, and he makes no secret of this. And yet the filmmakers didn't fall into a cliche trap and take care to show that even though Gillespie is a bigot, he's also a good cop. Unlike certain similar characters (and even some of his deputies in this film), Gillespie doesn't allow his prejudices to stand in the way of his investigation (a character flaw that, oddly enough, Tibbs gives in to while Gillespie does not). This is no "Bull Connor" character; this is a man who knows his job, and does it well. Tibbs and Gillespie begin the movie as two prejudiced men who begrudgingly admit to needing each other's help due to the circumstances (Gillespie's lack of a homicide expert; Tibbs' being forced to remain in an unfamiliar and hostile environment), and end it with a powerful respect for one another.
"In the Heat of the Night" won Best Picture at the 1968 Academy Awards (the first detective film to do so), and Steiger took home the Best Actor award for his career-best portrayal of Gillespie. (Because this, "Guess Who's Coming to Dinner," and "To Sir, With Love" were all released in the same year, Poitier was unable to consolidate enough votes for any one film and thus failed to be nominated; Norman Jewison lost Best Director to "The Graduate"'s Mike Nichols.) That perfectly sums up this film's legacy: a brilliant film with two powerful lead performances, and an all-time classic of the detective genre.
Movie Review: 1967...an auspicious year...
Summary: 5 Stars
"In the Heat of the Night" won the Oscar for Best Picture of 1967. I was a Freshman in college that year, and all the talk was about "Bonnie and Clyde", a great film. "The Graduate" was doing the art-house circuit, and wasn't widely seen at the time. "Guess Who's Coming to Dinner" was, at the time, considered ostentatious (a rich Black man marrying the daughter of a rich White couple...how shocking!); the fifth nominee that year was Rex Harrison's "Doctor Dolittle", but I don't want to talk about that. I find that, 25 years later, I pull out "In the Heat of the Night" to get my kicks from brilliant film-making, as well as good suspense and fine acting and direction. This was Norman Jewison's first nomination for Direction, and not his last. Some say he lost it to Mike Nichols for "The Graduate" because Nichols probably should've won for his debut film effort, "Virginia Woolf?".Maybe. Some say Rod Steiger won his acting Oscar because he lost in '65 for "The Pawnbroker". I doubt it. In my humble opinion, this was Steiger's penultimate role, a man who is so sure of himself, yet is taken down a peg by someone better. He will never show his insecurity, though you know it's there. I also believe, after watching this often, that Steiger's Gillespie is NOT racist, merely dealing with a racist environment. It's mentioned that he's the new sheriff, but it never says where he came from. This is good, because Steiger starts from scratch, builds a compelling character, shows a bit of lack-of-control, and it makes him nervous an wonderfully vulnerable. His mind is usually open. Virgil teaches him; hence, whatever happens later can only be for his benefit. Great characters. Poitier was in 3 good films in 1967: this one, "Guess Who's Coming to Dinner", "To Sir, With Love". I'm sure that, when nomination time came, his votes were divided. For this reason alone, I think he would've won. The performances of Lee Grant, Quentin Dean and Scott Wilson (he was in "In Cold Blood" that year) were stellar. The great old gospel singer, Jester Hairston, also had a small role; he dubbed the singing for Poitier's Oscar winning role in "Lilies of the Field" ("Amen!"). Interesting stuff! Sterling Silliphant's screenplay won the Oscar hands-down, a riveting narrative of a complicated book. The greatest thing about Steiger's performance is that you know nothing about him or his background when the film begins, or even when it's over. What you know is that he's stuck in a place he doesn't like and no one likes him; there are suggested gay overtones, especially when he's in his home and he and Virgil talk about loneliness. It's quite profound when he doesn't get the answer he wants. There's also the great Beah Richards, in a small cameo, as Mama Kaleba; a sweet but nonetheless reprehensible character; she was nominated that year for "Guess Who's Coming to Dinner", as Poitier's wonderfully heart-broken mother, a fine performance. Yes, 1967 was a great year. "The Graduate" broke a few barriers; "Guess Who's Coming to Dinner" broke some, and, certainly, "Bonnie & Clyde" made bad guys look good. Don't forget Richard Brooks' "In Cold Blood"...A great year, but I still think "In the Heat of the Night" is the film I prefer to watch.Movie Review: "HEAT" REMAINS HOT
Summary: 5 Stars
It's hard to believe that it was 40 years ago that a movie about racism became the best picture at the Oscars. Even harder to believe is that the same film holds as much relevance today as when it was originally released, that it holds the same impact.
In 1967 IN THE HEAT OF THE NIGHT became the best picture. While the story may seem simple on the surface, it is all that lies under the surface that makes this movie exceptional.
Rod Steiger stars as police Chief Bill Gillespie, a bigoted man in the town of Sparta, Mississippi. When a wealthy Chicagoan who was in the midst of building a new factory turns up dead, Officer Sam Wade (Warren Oates) arrest the first man he doesn't recognize in town. Gillespie's badgering attempts to coerce a confession fall short when he discovers that the man in questions is Virgil Tibbs (Sidney Poitier), a homicide detective from Philadelphia visiting his mother.
One phone call clears up the misunderstanding but also launches Tibbs into assisting the local police in their hunt for the real killer. Tibbs methods involve evidence and proof while the locals use brutality and suspicions to roust out a suspect. Each new suspect they bring in, Tibbs clears with the evidence that proves them innocent.
Tensions between the two officers' rise and fall as each deal with their own form of prejudice. While Gillespie's is apparent from the get go, Tibb's is more subtle and seen as he tries to find ways to pin the murder on the local town patriarch, a man who looks blacks as less than men. Both men want to find a solution to the murder, both are using their own methods and both allow their beliefs to cloud their judgment. Can they find the real killer?
The winner of five Academy Awards (Steiger for acting, best editing, best screenplay, best sound and best picture as well as nominations for director and sound effects) IN THE HEAT OF THE NIGHT defied the expectations of the studio that produced it, becoming a movie that the public and critics both loved. One watching makes it easy to see why as this tale unfolds beneath the mastery of direction and acting involved. Steiger and Poitier were at their best with this film.
The theme of racism is dealt with in an adult and factual manner, reflecting the times as they were. The progress made in 40 years may not seem like much to some, but in watching this movie it's hard to believe nothing has changed. There may be room yet for more, but films like these were stepping stones in the path for acceptance.
As much now as then, those 40 years in the past, this story still needs to be told. At the same time, the changes since need to be explored as well. One of the joys of DVDs offering classic films of the past is the sense of history that we can watch right before our eyes. And in doing so, perhaps we can learn, perhaps we can make a cause for not making the same mistakes again. DVDs may offer entertainment, but they can offer education as well. This film is proof of that.
Movie Review: Rod Steiger At His Best ! ! !
Summary: 5 Stars
There is always something about a film that any person finds appealing; You might be totally consumed with the story, or the music, or even ironic twists in the plot. It could even be the costumes, or the dialogue that captures your endless attention.For me, in this film, it was the acting of Rod Steiger.
He was approached before the film, and told that if he could put on a nice belly, he could win an award in this movie. For a month, he sat and ate pecan pies until the belly was plump enough to partner with the slightly tight shirt, orange tinted sun glasses, officers hat, arms of bulging iron, and that endless sweat on his forehead that made him into the mississippi sheriff that no one can forget after viewing this movie.
Rod Steigers performance was quite remarkable, and commands the observant viewers respect and admiration. When he was ready to go into a rage at anyone who pulled his strings too tight, there was that momentary pause, where his gum almost exploded in his mouth, his forehead looked like every blood vessel would burst, and his face was turned away as he waited for the person to stop irritating him. oh, how well he did it. How much gum did they go through for this movie, we will never know.
Taking nothing away from the remainder of the cast, Gilespie is the center of the story, as he mirrors the racial bias of the remainder of the town, but over time, comes to appreciate and respect Virgil. Gilespie has to fight his inherit racial bias in order to see that Virgil is correct in his approach, and execution of the criminal investigation. How dare anyone come to his town, and do his job better, especially a black man from the north.
You can credit Sidney Poitier for his performance as well, but for the most part, he silently consumed all the anger and racial hatred with little response. His strength in this film is his restraint in situations where anyone else would have little tolerance. Rod Steiger had a much stronger role, and was able to act more demonsterativly, as he was the white sheriff in the white southern town, silently commanding respect from the towns residents, but never over doing it.
This film was made at a time when racial barriers needed to be brought down. It was most effective, and was appreciated by many for its message. In this country, and in this world, the same message needs to be learned. It is unfortunate that we need to study history to keep from making the same mistakes over again. Thank goodness there are films like this one, and others like Mississippi Burning that point out selective hatred and bias in our society, and teach us where we can go wrong.
Two thumbs up for a daring story line, and command performances from some of Hollywood's great actors.
When the Academy gives out awards for best picture, they have their reasons. Sometimes they are wrong, but in this case, they were so right.