The Organization

Perhaps the least-known Poitier work, certainly of the period; at date of writing only nine IMDb members had voted on this film. This is just over 1% of the votes attained by it's initial prequel, the superb "In The Heat of the Night". Between the two is the awful-yet-lovable "They Call Me MISTER Tibbs!" which took the Virgil Tibbs franchise on a downward slope.

Those that do get to see this movie on it's rare t.v. rescreenings and decide to give it a go after the disappointing "Tibbs" will be justly rewarded. Essentially, the production team is the same as the previous film, though Gil Melle provides a jazz-orientated score instead of Quincy Jone's adequate but inappropriate themes. The domesticity is also played down, with Alan R.Trustman absent as co-writer and James R. Webb taking full control of the screenplay. Most importantly, though, is Don Medford as the well above average director. Apart from a rather crude edit where a car accident occurs in the second half of the picture, the scenes are melded together seamlessly and flow together exceptionally well.

Poitier reprises the role of Tibbs, an arrogant, aloof, bad-tempered, authoritarian, bigoted Lieutenant. As a result, this is probably the most appealing of all Sidney's characters, and he slips back into the role effortlessly. With no star names to support him, such as Rod Steiger or Martin Landau (though Raul Julia did become a star later in life), Sidney stands way above his peers. His ability to project a bad atmosphere every time he walks into a room is flawless. This time he is not let down by the plot, either, which sees Tibbs caught between the Police Department and a vigilante gang that seeks to expose a wide net of heroin dealers. The plot takes on many shifts in loyalty and focus, keeping the attention, while a chase through underground tunnels lends the requisite chase an extra air of tension. The racial motif is again absent, though a rival black cop played by Bernie Hamilton gives off a frisson of resentment.

While predictably not of the calibre of "In Heat of the Night", The Organization stands as the greatest of Sidney's seventies vehicles.

Post-Script, March 2016: Over 16 years since I wrote this review (where does the time go?) I realise that I was too soft on what is quite a shaky film. Continuity and editing are not great, and the tone is frequently dirge-like. It's OKAY, but the concluding line that it's the best of Sidney's 70s movies was clearly written by a man who hadn't then seen The Wilby Conspiracy or Brother John. It's what's known as a "take a chance" point of view, and in this case it was wide of the mark.

Following the success of "In the Heat of the Night", Sidney Poitier made two more films starring the cop, Virgil Tibbs. However, neither of the sequels were like the original film in several ways. Inexplicably, Tibbs works for the San Francisco Police Department, though in the original film he was a detective with the Philadelphia Police Department. He also didn't have a family...but does in the sequels. But, more importantly, neither of the sequels were about race prejudice...Tibbs was just a good cop working homicide as a detective.

When the story begins, a group of amateurs break into a building and steal millions of dollars in drugs. But they are not planning on selling it but stole it to hurt the organization marketing drugs in the city. But they don't want to work with the cops, as the department is apparently filled with men on the take with this organized crime ring...and they approach Tibbs since he's known as an honest cop. Naturally, there's a lot more to it than this and the plan does not go smoothly at all! So, it's left to Tibbs to pick up the pieces and work the case....even though he's not in the Vice Squad.

This film is a departure from the second film in that "They Call Me Mr. Tibbs!" had a lot in it about Tibbs' personal life and family. In "The Organization", there isn't much about this...it's mostly just a straight cop drama....much like a Dirty Harry film but without the same level of violence. Worth seeing but the weakest of the three films.

Virgil Tibbs apparently left his detective post in Philadelphia for one in San Francisco, where he shows up investigating a robbery of furniture company that's actually a front for The Organization, a group of businessmen dedicated to the sale of heroin. A Mod Squad of locals orchestrates the robbery as the film opens, stealing four million dollars worth of smack, not to sell it, but to keep it off the streets. Since they're not hardened drug dealers, they're not much of a match for the well-portrayed hit men of the Organization, leaving it up to Tibbs (Sidney Poitier) to try to protect them while working to break the heroin ring. The outdoor locations are great, with one car chase that succeeds quite well, but overall it mostly resembles one of those made-for-TV movies of that era.

We first met Virgil Tibbs waiting for a train in Sparta Mississippi In the Heat of the Night. For those that didn't know, he reminded us in They Call Me MISTER Tibbs. Now, he had his badge taken away after no keeping his Captain informed as he fought The Organization in San Francisco.

Maybe the hippie thing is getting tired: calling police "pigs," and the weird dress, and constant "man"'s, or maybe Tibbs is getting tired, but this was just a fair viewing of Sidney Potier as Virgil Tibbs.

Well, at least he is still married to the same woman (Barbara McNair), and I always like seeing Raul Julia (Moon Over Parador, Kiss of the Spider Woman), there is "Superfly" (Ron O'Neal), Daniel J. Travanti when he was Dan Travanty, and Max Gail, whom I remember from "Barney Miller." Sidney Potier is always worth watching and you might have an additional favorite above.

Sydney Poitier is marvelous in any movie he has been in, so far as I have noticed. When he first showed up as MISTER Tibbs in Heat of the Night, I knew it would be a great watch. Unfortunately, by the third run, The Organization, even his usual and expected dazzlement could not save the faulty plot and slow pacing. The premise of a group of amateurs trying to bring down "the organization" and then trying to drag in a good cop like Tibbs (who doesn't let the force know what he is doing) is, well, thin and silly. There were great slices of Tibbs' home life with his son and daughter, which goes to show that Poitier brings life into even a tedious period cop piece like this one. Overall, it's still watchable, but only if you are a dedicated Poitier fan.