SYNOPSICS
In the Heat of the Night (1967) is a English movie. Norman Jewison has directed this movie. Sidney Poitier,Rod Steiger,Warren Oates,Lee Grant are the starring of this movie. It was released in 1967. In the Heat of the Night (1967) is considered one of the best Crime,Drama,Mystery,Thriller movie in India and around the world.
Detective Virgil Tibbs is caught up in the racial tension of the US South when he is arrested after the murder of a prominent businessman. Tibbs was simply waiting for his next train at the station in Sparta, Mississippi and the confusion is soon resolved but when local police chief Gillespie learns that Tibbs is the Philadelphia PD's number one homicide expert, he reluctantly asks for his assistance. The murdered man, Mr. Colbert, had come to Sparta from the North to build a new factory and his wife and business associates immediately point the finger at Endicott, the most powerful man in the county and the one who had the most to lose if a major new employer comes to the area. Tibbs' life is clearly in danger but he perseveres in a highly charged and racially explosive environment until the killer is found.
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In the Heat of the Night (1967) Reviews
Once timely, now timeless
One of the great films of the 60s, "In the Heat of the Night" hasn't aged a bit in the four decades since its release and now deserves to be ranked with the great films of all time. Beautifully atmospheric, Haskell Wexler's brilliant cinematography and Norman Jewison's first rate direction make you feel the humidity of the small Mississippi town in which a black detective teams with the redneck sheriff to solve the murder of an important industrialist. As sheriff Bill Gillespie, Rod Steiger is superb in his Oscar winning role, and this film provides Sidney Poitier with some of his greatest screen moments, including his famous admonition to Steiger that became the title of the less impressive 1970 spin off: "They call me MISTER Tibbs!" This is one of the few politically correct films to make its point without resorting to heavy-handed, sanctimonious preaching. Stirling Silliphant's Oscar winning screenplay never hits a false note, and the change that occurs in the relationship between the leading characters is subtle, and, therefore, believable. The two stars are ably supported by an outstanding cast of both veterans (Lee Grant, Warren Oates, Beah Richards) and newcomers (Scott Wilson, Quentin Dean, and the delightfully creepy Anthony James). The score by Quincy Jones, featuring Ray Charles' rendition of the title song, captures the proper mood throughout. In a year when the odds-makers were predicting an Oscar victory for "Bonnie and Clyde" or "The Graduate," "In the Heat of the Night" surprised the prognosticators by taking the Best Picture prize and four other Oscars. Considering its theme of racial tolerance, it seemed an appropriate choice at an Oscar ceremony that was postponed following the assassination of Martin Luther King, Jr. The film's theme made it timely, but its artistry makes it timeless. The Academy made the right choice. Brian W. Fairbanks
"They call me Mister Tibbs!"
Whether he likes it or not, Sidney Poitier will always be remembered first and foremost as the first black actor to continuously star alongside and above his white counterparts. Just look at the opening credits to "In the Heat of the Night" and you will see that not only does he get an above the title starring credit with method maniac Rod Steiger, but his name also appears first. Something that could have easily been switched around and overlooked considering the importance of each character. But for this socially aware thriller born of the turbulent sixties, it had to be, most definitely, a conscious choice. For Poitier, this film, along with "Guess Who's Coming To Dinner?", marks the last of his civil rights driven roles in which his character's race is an all important plot element. From "Edge of the City" to "The Defiant Ones", Poitier excelled in bringing intelligent and commanding three dimensional characters to life. A feat he had to succeed at if his films were to gain the trust of a predominantly white audience and push for racial equality. Call him the Jackie Robinson of Hollywood. When we first see Poitier as Virgil Tibbs, he is stepping off the train in the small Mississippi town of Sparta. Although we can only see him from the waist down, we do get a quick glimpse of his hand and from that we are aware of his race. An important fact for the audience to dwell on later when Rod Steiger as sheriff Gillespie, standing over a dead body on Main Street, and calls for his deputy to round up any strangers for questioning. From that moment on, director Norman Jewison establishes the racial tension that will only grow more and more intense as the film goes on. Sometimes, the film is far from subtle in exploring the issue of racism. Endicott's plantation, complete with tall white pillars and a black jockey lawn ornament to guard them, is a perfect example. What starts off as a surprisingly civil conversation between Tibbs and Endicott quickly turns heated and unpredictable. From that moment on, the experience will serve to cloud Tibbs' judgment and bring his own flaws to the surface, making him almost as complex a character as Gillespie. And it is the complexity of Gillespie that got Steiger the Best Actor Oscar over Poitier in 1968. This man has heart, but not made of gold, and his motivations are far from pure. He is simply a man who believes in doing his job, and doing it as just as possible - even if it means arresting a friend for murder. Take for an example the scene in which Tibbs is surrounded by a gang of blood thirsty locals. When Gillespie arrives to save the day, he simply gives them a warning and tells them to go home. It is only when they insult him personally that he becomes angry and takes a swing. His action is just - his motivation almost vain. In the end, after the murder is solved and racial injustice is swept back under the rug, Tibbs and Gillespie say their farewells and continue on with their very different lives. Each one better off for knowing the other. Rating [on a 5 star system] : 5 stars
flawless movie, deserved Best Picture
There are many bad "issues" movies out there, but this is not one of them. In a bad movie, all of the racist characters would be one dimensional and one hundred percent evil; here, Steiger is allowed to play a prejudiced man who is actually sympathetic and capable of growth (hence the Oscar). In a great twist, Virgil Tibbs himself is shown to be capable of prejudice, as he pursues Endicott without sufficient evidence. It's refreshing to see a movie that portrays the entire spectrum of racism, from the crazy extremists (and there are plenty of those on hand here) to the more subtly prejudiced. "Mississippi Burning," a weaker effort, is not only more tediously didactic, but also less progressive; that film doesn't feature a protagonist like Virgil Tibbs, and instead focuses on the actions of two white federal agents. In this case, the old movie really is the better movie; produced at the height of the civil rights struggle, "In the Heat of the Night" feels more immediate and passionate than preachy films on the subject that were made years later, after the tension had died down. Some reviewers complain that the mystery segments of the film are confusing, but I follow them without much trouble. Tibbs does a great Sherlock Holmes routine throughout, as he pieces together the solution based on clues that are also available to viewers. Sure, the ending is surprising, but it doesn't come entirely out of left field; I actually admire the subtle ways that clues are sewn throughout the film. If you're not used to mysteries, the barrage of red herrings and dead-end clues might surprise you, but it's pretty standard stuff for the genre. I knew about the classic line "They call me Mr. Tibbs!" long before I actually saw this movie. I used to wonder why the line was so famous; it doesn't sound that exciting, does it? But when I finally heard Poitier say it in context, I asked my brother to pause the tape so I could cheer without missing any of the subsequent dialog. That's how excited I get during this movie. The performances are so naturalistic, and the racial conflict so vividly drawn, that I get pulled into the action completely. Though 1967 was a strong year for films, I still think that the right one got Best Picture, and not just because it was topical; "In the Heat of the Night" is a well-directed, superb character study, populated by some of the most vivid characters I've ever encountered in a movie.
Through The Mississippi Darkness
Gritty realism and a strong performance by Rod Steiger rev up the technical quality of this taut drama about a visiting Northern Black detective named Virgil Tibbs (Sidney Poitier) who gets nailed as a suspect, foolishly, in the murder of a local VIP, in a small town in Mississippi. Eventually, the town's White police chief, the gum chewing Gillespie (Rod Steiger), accepts Tibbs' innocence. And the two of them then work together, reluctantly, to solve the case. Forty years after the film was made, the racial themes seem just a tad heavy-handed. Whites are always backward and racist. And Tibbs is smart, urbane, and sophisticated. But back in the 1960s, the filmmaker probably did need to be blunt. And the point is made that Blacks and Whites, working together, can accomplish worthy aims, even though old Black Joe is still pickin' cotton at the Endicott Cotton Company. As a whodunit, the story is fairly good, convenient coincidences notwithstanding. The clue to the killer's identity is pleasantly subtle. The film's cinematography and production design are terrific. Many scenes take place at night. And the opaque lighting makes for a moody, slightly dangerous look and feel. Loved how they photographed that train moving down the tracks in the Mississippi darkness, a metaphor related to the film's theme. And the sound of a train whistle adds to the mournful realism. Interiors look authentic. The masking tape that covers rips in a big leather chair in Gillespie's shabby office is so true to life. A single white light bulb hangs down from the ceiling in a small neighborhood grocery store, where the shelves are filled with empty fruit jars. And that greasy spoon called Comptons reeks of 1960's Southern rural reality. My only complaint with this film is the background music. Some of the jukebox songs are not consistent with the film's overall tone. "In The Heat Of The Night" is a technically well made, and quite interesting, murder mystery. Yet, it will always be remembered, rightfully, as the film that offered hope of racial harmony, during a decade in which there was none. Its "Best Picture" Oscar award is thus explained.
A great whodunit with a unique setting.
Whodunits are a dime a dozen in my view.What makes In the Heat of the Night so unique in the murder mystery genre is it's setting:The racially tense deep south.This is what I enjoy about the film.You have two major plot lines to keep you engrossed:The investigation into the murder itself,and the racial tensions between Sidney Poitier's Virgil Tibbs character and virtually every other character in the film.The film is loaded with great acting,particularly from Poitier,who,not surprisingly,considers this his best work and is his favorite amongst all the projects he has done.Not only is this recommended viewing,it is recommended for a spot on your home video shelf.