FeistyUpper
If you don't like this, we can't be friends.
Chirphymium
It's entirely possible that sending the audience out feeling lousy was intentional
Hattie
I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.
lasttimeisaw
Oscar's BEST PICTURE obtainer, Canadian filmmaker Norman Jewison's IN THE HEAT OF THE NIGHT pluckily wrestles with the racial tension through a black-skinned homicidal detective Virgil Tibbs (Poiter), hailed from Philadelphia but stands up like a sore thumb in a southern town Sparta in Mississippi, where a wealthy industrialist is murdered. Virgil is wantonly brought to the local police station as the chief suspect in the first place, by a vacuously cocksure officer Sam Wood (Oates, conspicuously poses with an air of casual small-mindedness), a decision precociously conducted simply owing to Virgil's skin color, albeit he is garbed in suit-and-tie, Sam instinctively deems this black guy is the murderer without even questioning him, assumes that he awaits fleeing in the train station at 3 a.m. Virgil remains cooperative under duress, only to manifest his ace in the hole with his police badge, in front of the sheriff Gillespie (Steiger), the first slap in the face. While it seems arbitrary that Virgil's superior would patly ask him to assist the investigation by phone, but the sticking point soon boils down to Virgil's decision of leaving or staying (due to the rampant hostility from local peckerwoods), a seesaw game well played between Virgil and Gillespie, each turnabout marks a shifting progress in their respective cognition towards each other, in tandem with the ongoing police procedural. But admittedly the unfolding crime-solving routine doesn't crop up completely creditable as the film's renown attests. Virgil is way head and shoulders above his peers born with lighter-complexion, in certifying facts and sifting out clues (and might even be endowed with some psychic ability, otherwise how could he be so sure about Sam's veered routine? A snag the film never cares to elucidate). The only foible is his preconceived bias, which is accountably shaped up by hardened racism he has to come in for on a daily base, and near the climax, he admits it frankly and timely swerves to the right track in teasing out the hidden perpetrator. Tellingly, what makes the film "culturally, historically, or aesthetically significant", cited as its induction in the United States National Film Registry in 2002, is the palpably construction of the foe-to-friend transition between these two men, but not in the modality of indoctrination or spoon-feeding, today's audience might find it beggar-belief to some egregiously blinkered presentation of racism (which could very much be the case as we twig half a century later, the canker has never ceased to incubate), however, not for one minute, we have to stretch our suspended disbelief in view of the two men's mutual conflict-and-reconciliation, a sensibly crafted understanding-vanquishing-prejudice which can be related to every spectator, it is the very basic technique in storytelling: be relatable without resorting to simple preaching, but to round it out in all its integrity and empathy, it is another matter, in this sense, the film merits all the accolades it garners.Rod Steiger won Oscar's BEST ACTOR trophy for his bellowing imposition and everyday toiling amplified in high voltage, but in hindsight, it is hard not to attribute his triumph (at least to a degree) to the inexorable gesture of urgent political correctness. Sidney Poitier, by contrast, takes on a subtler but no less dramatic seething-and-smouldering performance to the fore in his trailblazing embodiment for his own race, a crusade he pulls his back into with unalloyed dignity and honesty. Lee Grant, in a small but pivotal role as the newly widowed rich wife from north, choreographs a most revealing pas-de-deux with Poitier in their first scene together, gives a chilling vibe of the congenital racism even from those who are ostensibly liberal-minded, the poison is like old habits, roundly die hard. An opportune tirade spiked with oomph (tantalizing nudity is included), oompah (courtesy to Quincy Jones' throbbing score and Ray Charles' theme song) and moxie (robustly edited by Hal Ashby who was received his first-and-only Oscar statuette, which might facilitate his transition to the director chair), like Stanley Kramer's INHERIT THE WIND (1960), IN THE HEAT OF THE NIGHT needs to be mandatorily watched by every single human being if we were living in a perfect world, simply because there is cardinal verity in its story that no other belief can twist or garble.
elvircorhodzic
IN THE HEAT OF THE NIGHT is a mysterious crime drama film that, through a detective story, brings a critical view of a racial hatred and prejudices. The story is presented as a sort of dilemma between an unresolved murder and an illness of a society. Every interrelationship is described as a kind of incident in this film. It is based on John Ball's 1965 novel of the same name.Mr. Colbert, a wealthy industrialist from Chicago, is constructing a factory in Sparta, Mississippi. One night in September 1966, when driving back into town after a meeting at the plantation home of one of Sparta's leading citizens, Mr. Endicott, he is murdered. Police Officer Wood has found his lifeless body on the street. Police Chief Mr. Gillespie arrives on the scene where the body has been discovered and takes direct charge of the investigation. He speculated that the crime was committed by a random passer-by. At the town train depot, Wood finds a black man, Virgil Tibbs, sitting quietly with his luggage in a business suit. Officer Wood immediately arrests him, cursorily searches him, and finds more than $200 in cash in his wallet. However, Mr. Tibbs is not an ordinary passer-by...Credible characters, melodramatic plot and honest look at one of the biggest social problems are the main aces of this movie. Well, Mr. Jewison did not take into account the coincidences, so some sequences are pretty confusing, but its do not make a great deal of damage to this movie. A clash between an arrogant and incompetent white police chief and a capable and detailed black detective is the most interesting segment of this movie.The characterization is very good and it corresponds to the tense atmosphere and the hostile environment.Sidney Poitier (Detective Virgil Tibbs) and Rod Steiger (Police Chief Bill Gillespie) are two characters with the same problems but with a very different approach. In fact, it does not matter who is the better cop of these two, but who is the better man. Both actors have offered very good performances. A chemistry and tension between them is very impressive.The other actors were not bad, but some of them are quite unconvincing and irritating.Every problem, any suspicion and prejudice can be overcome by communion.
HotToastyRag
In one of Sidney Poitier's most famous films, he plays a police detective drawn into a murder investigation in the deep South. Everyone in the small Mississippi town is pretty racist, including the local police chief Rod Steiger. They constantly belittle Sidney and call him "boy" until he can't take it anymore. "They call me Mister Tibbs!" is his famous line, one so iconic that the sequel to the film was given that title.While Sidney wasn't nominated for an Oscar that year, ignored for both this film and Guess Who's Coming to Dinner, Rod Steiger won for Best Actor. It was a make-up Oscar for his loss of 1965's The Pawnbroker to Lee Marvin in Cat Ballou.While In the Heat of the Night isn't a bad movie by any stretch of the imagination, it's not the type to get honored for an Academy Award—then again, neither was Cat Ballou. But, if you're a fan of either Rod or Sidney, you'll want to rent this one and add it to the list of famous classics you've seen.
ma-cortes
It is is the first of Virgil Tibbs series based on the role originated in this successful ¨In the heat of the night¨ , being marvelously served by powerful acting and taut filmmaking , and followed by two weak sequels . It won 5 Oscars , being excellently directed by Norman Jewison , it features great stars and secondaries as Rod Steiger , Warren Oates , Lee Grant , Lee Grant , Matt Clark , Larry Gates , James Patterson , Anthony James and William Schallert . Dealing with a wealthy industrial in a small Mississippi town , Sparta , is murdered , despite resentment on the part of the town's bigoted police chief (Steiger) he joins forces with an African-American cop . As Police Lieutenant Virgil Tibbs (Sidney Poitier) called in to investigate a strange murder case in a small Southern town . ¨In the heat of the night¨ has action , suspense , drama , thrills , violence and intriguing finale . This is a fundamentally simple whodunit woven together with tension , thriller and drama by Jewison . Here Tibbs finds has come to terms with his own prejudices as well as those of the people around him which adds another dimension to the movie . It is raised for above the norms thanks to an extremely charged sub-plot and top-notch acting . As a Big City Policeman comes up against bigotry , intolerance , dark secrets and a wall of prejudice when he attempts to help grumpy but canny Police Chief Cillespie . Intelligent screenplay by Sterling Silliphant with a provoking and underlying theme of racial prejudice is magnificently served . Atmospheric as well as evocative cinematography by Haskell Wexler and enjoyable music score by Quincy Jones in his usual style . The motion picture was compellingly directed by Norman Jewison . It scooped 5 Academy Awards , such as : Actor for Steiger , Screenplay , Film Edition , Sound and Picture . And won several British Academy and Golden Globes . Essential and fundamental watching . The trilogy starts with this excellent ¨In the heat of the night¨ (1967) , in which Poitier gives a memorable and unforgettable role , this was the best and the original , though , in the intervening years haven't dated it . The sequels pack the further adventures of the role Tibbs/Sidney Poitier who went on to reprise the character . The second installment is ¨They called me Mister Tibbs¨ (1970) being realized in Television style by Gordon Douglas , it stars Martin Landau , Barbara McNair , Anthony Zerbe , Edward Asner . And the third and final appearance , ¨The organization¨ (1971) , by Don Medford with Barbara McNair , Shree North , Raul Julia , Ron O'Neal , Allan Garfield and Daniel J Travanti , in which Tibbs/Sidney Poitier is out to break up a ring of dope .
