Sick Product of a Sick System

Really Surprised!

Absolutely Fantastic

It's easily one of the freshest, sharpest and most enjoyable films of this year.

In the heat of the night "A hundred and sixty-two dollars and thirty-nine cents a week? Well boy! Sam, you take him outside but treat him nice, because a man that makes a hundred and sixty-two dollars and thirty-nine cents a week, we do not want to ruffle him! " Even when his intelligence laid on the table, racial preoccupation would still stand the way of his investigation." In the heat of the night" was directed by Norman Jewison in 1967. Different from other crime drama, this story puts more focus on building characters rather than the murder itself. This story described a story of a black police detective uncovered a murder case in a small southern racist town. When detective Virgil Tibbs (Sidney Poitier) waiting for a train at the station, a police officer (Rod Steiger) arrested him and accused him of murdering a successful businessman. When he clarified his identity at the police station, the local chief unwillingly asks for his assistance. During the investigation, Virgil's life had been threatened due to racial prejudice. While the racial tensions are growing over time, the hostility of chief is fading... Although storyline evolve around the murder events, still the movie shows a lot of interactions between Virgil and other characters. It draws audiences focus on the question: Can Virgil's career excellence overcome the prejudices and successfully reveal the mystery? " In the heat of the night" won a Best Picture Oscar Award by successfully conveyed the pictures of a hot, slimy, and small southern town. In the film, everyone's head was full of beads of sweat; it makes audiences feel the heat of the hot summer. Also, the characters often held an iced coke in their hand, and it reminds viewers the thirsty feeling of a hot day. By using small details and high saturated color, the film creates realistic pictures of the environment. The chief was very well acted, his accent and the noisy sound of gums also enhanced the impression of his personality. Overall, this is an engaging, entertaining, and well-acted movie.

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.

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.

Now here is entertainment wrapped up and delivered right to your door just like a pizza with everything on it fresh & hot ready for the eating. The actors are committed and good at what they do. The story is top notch and the directing captures every scene making this a movie that commands that you see it over and over again despite knowing how it ends. Why? It's just so well-put together. Racism is served up in a believable way and for its time allows the viewer to get a glimpse of the South and its ways and how if you go along you will get along. Today, that strategy is rejected in favor of equal rights and fair-play. Strong performances by Rod Steiger who one can count on and of course Sidney who breaks-out in this movie using his talents and skills realizing he is only black when necessary to the story. He ends up being an example and good role model for a decent human being and friend to all teaching by example too. Notice how twice in this movie, the Police Chief played by Steiger adamantly concludes that this is the way the murder happened and has his mind made up. This is why we take 13 years to execute someone on death row. We need to make sure they are guilty before taking a life. Here, they are quick to take the life and in the south, when anyone in power says you are guilty, I am afraid its so right or wrong. Shame on us for this taking place but it does. Highly recommend a nice meal when watching this and at the least, a decent snack with a tasty drink rewarding yourself completely during the showing. If I had to sum up the lessons given in this movie it would be that character says it all about who and what a human being is and should strive to be. Without this, we are beasts of the field