In the Heat of the Night (1967)

 Cheap Defamation
This movie concerned the fictional town of Sparta, Mississippi. Fictional? There is a Sparta, Mississippi. Basically, this film depicted an entire town as a bunch of stupid, White racists. I not only doubt that a town full of White racists existed at the time, but this movie does defame the White people who actually lived there.

Black cop Tibbs was arrested by a White cop for suspicion of murder. A common interpretation of the movie is that Tibbs was arrested because the cops were racists. But there was not one shred of evidence that race motivated them to detain him. He was simply at the wrong place at the wrong time--suspected by cops who had no homicide experience. Why not? Because they lived in a relatively crime-free town. What's so bad about that?

After the police chief had called Tibbs' boss, Tibbs' boss ordered him to stay to solve the murder. A common interpretation of Tibbs' reluctance to help solve the murder is that he felt bitter toward a bunch of racists; but the fact is that his job was in Pennsylvania, so that's where he wanted to work.

Predictably, Tibbs knew exactly how to solve the murder. No one else in town could do it, so he was the big hero. The Whites kept revealing their stupidity and/or incompetence, which I'm sure made a lot of Northern viewers with preconceived notions about Southern Whites happy. Of course, the obligatory racial epithets and taunts had to be generously tossed into the already insipid mix.

The scenes with the crazy mob of White racists struck me as gratuitous. The movie seemed hell bent on its apparent mission to whet the appetites of paranoids who inveterately stereotype Southern Whites as a bunch of stupid racists.

There was too much macho posturing between Tibbs and the White police chief. At one point, the police chief appeared interested in talking frankly about himself to Tibbs. Tibbs responded with a condescending crack, and the police chief just stormed off.

This movie was a waste of time. For the most part, I just wasted my time watching a movie that dwells on a threadbare topic. May 2, 2008

 AN ALL-AROUND POWERHOUSE FILM
Still packs a mean punch against racial stereotyping over 40 years later. Sidney Poitier/Rod Steiger in what was amongst both actor's finest hours. 1967's Academy Award winning Best Motion Picture, and Rod Steiger's Best Actor Oscar win. But no nomination for Mr. Poitier. Some have speculated that was due to a probable split in voting with his other 1967 blockbuster "To Sir With Love."

One of my most memorable childhood movie moments was that of Mr. Poitier's character Virgil Tibbs being slapped by a powerful southern white man for "stepping out of line," and he slapping him back just as authoritatively. Maybe nothing now, but 40 years ago that was almost unheard of. Powerful directing from Norman Jewison, and outstanding original music score from Quincy Jones. April 3, 2008

 COTTON PICKIN' GOOD
Best picture Oscar for 1967, with Steiger also winning for best actor.Film itself is erratically paced and quite convoluted, especially in the final 7-10 minutes. The major theme,obviously, is Poitier's presence as an intellectually superior black police officer from Philadelphia, Pa. and his gradual acceptance by Steiger.Steiger arrests Poitier twice, before solicitinng his advice on a murder case involving a progressive businessman.Caution: the movie is based on a novel. Steiger finally thinks he has the proper suspect in custody, and wants Poitier to "vamoose", lest the sheriff be labeled a "nigger lover". But Poitier's own independent investigation proves otherwise in a fast paced conclusion that this reviewer has already warned the viewer about. One would like to think that attitudes have moderated over 40 years, but skin pigment and religious disputes continue to plague civilization. For what good cause? March 8, 2008

 "HEAT" REMAINS HOT
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.
January 19, 2008

 Nearly Worn Out The Disk
This movie is in my top ten. When I want to watch a movie but don't know what I want to watch I'll see this in my collection and will not have to look any longer. January 18, 2008

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