Al calor de la noche

In order to understand what's happening in In the Heat of the Night you have to realize that it is set in a very specific time period. The Civil Rights Act had been passed in 1964 and the Voting Rights Act was passed in 1965. But the impact of those laws was only beginning to be felt.

Especially the Voting Rights Act. The town of Sparta, Mississippi where William Schallert was Mayor and Rod Steiger was sheriff now has a significant new voting population and blacks might be a majority in that county. But even if they aren't, they know have a voice in the electoral process. Someone like Steiger has to take that into account now. Of course some of his deputies might not yet be with the program which explains why when a murder/robbery is committed of a very prominent northern businessman, Warren Oates sees fit to roust Sidney Poitier who's an unfamiliar black face in that town.

What a surprise they all get when they find out he's a top Philadelphia, Pennsylvania homicide detective and when his identity is established, his boss in Philly offers his services.

Poitier and Steiger both have to work through their prejudices, how each sees the other to solve this mystery which writer Stirling Silliphant gives us several red herrings before we learn the truth. Though Steiger got the Oscar for Best Actor, it should really have been a joint award. Their conflict and growing respect for each other drives the film. Steiger needs his expertise and respects him for that and Poitier comes to respect Steiger for his honesty.

Norman Jewison got great performances from his stars and the supporting cast of whom Warren Oates as the dimwit redneck deputy really shines.

Though set in a very narrow period of our history, In the Heat of the Night holds up very well with some eternal truths in its story. And it's the story of times that were a changing as one spokesman of the sixties put it.

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.

IN THE HEAT OF THE NIGHT is a well-crafted murder mystery with a twist. Sidney Poitier is a big city detective wrongfully arrested by a racist small police detachment after the brutal murder of the town's would-be financial savior. Once the matter is resolved and Poitier released, he finds himself aiding his former captors, including Police Chief Rod Steiger, in their quest to get to the bottom of the crime.

An Academy Award winner for Best Picture, IN THE HEAT OF THE NIGHT works on so many levels. It's a solid, unpredictable whodunit with beautiful cinematography and crisp direction from Norman Jewison. All the actors are on top of their games, particularly Steiger, whose not-entirely-likable chief gradually looks past his prejudices to warm up to Poitier. Poitier is his usual superb self, once again maintaining his vast dignity as the target of bigotry, much like he did in THE DEFIANT ONES.

And like THE DEFIANT ONES, a key theme in IN THE HEAT OF THE NIGHT is racism. In fact the racism on display here is so fierce and perverse that it's almost hard to believe (though I'm sure it didn't stretch a thing). You can't help but feel an emotional attachment to Poitier as he's subjected to taunts, attempted attacks, and off-color remarks from those who either don't realize the power of their words or don't care. Poitier proves again why he is perhaps the finest African-American actor ever to grace the screen.

IN THE HEAT OF THE NIGHT is one of those movies that, while not perfect, is impossible to dislike. It's classic, though still relevant, entertainment.

A well-done film of the raucous Civil Rights era, and should be standard viewing in classrooms.

Here's my breakdown:

STORY: Up front, it's only lightly dramatic, fueled by the socially-supported bigotry of that era.

What's very clever about this film is the way the story reveals itself in stages.

It's one of the best stories in that regard; it actually just gets better as the film progressives.

If you're not interested in the race struggles of that era then this film may not interest you.

ACTING: Even with a swath of "dumb redneck" characters, the whole cast are believable and hold their characters well.

Of course, Poitier and Steiger are simply awesome on their own and fireworks together. Really superb blend.

TEMPO: An excellent pace with nothing hyper or dull. With Steiger there's a lot of yelling (as was his custom).

CINEMATOGRAPHY: Love old films, and settings all by themselves. If you want to step back into time and literally see what the "Old South" was like, watch this.

DIRECTING / WRITING: Excellent directing and writing ... so much attention to detail and the handling of the subject. My only critique is the screenplay was written by a man who did so primarily for TV, and it occasionally shows.

Is it a very good film? Yes.

Should you watch this once? A must.

Rating: 8.1.

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