merelyaninnuendo In The Heat Of Night4 And A Half Out Of 5In The Heat Of Night is a rare cinematic art that redefines the genre on its own terms and grasps for something that seemed beyond impossible to achieve and that is its maturity on conveying a message. The scrutiny in here is thought out with each individual character's perspective that makes not only its characters three dimensional but also a more mature and stronger plot that isn't here to merely deliver a nail-biting thriller drama but an all direction view of the black and white aspects of the truth. It may be short on technical aspects like background score, production and art design, but is utterly adequate on editing and cinematography. The adaptive screenplay by Sterling Silliphant is witty, strong, gripping and aware of the characteristics of the characters well enough to keep the audience engaged throughout the course of it and offer them thought-provoking homework, too along with that. Norman Jewison; the director, is in his A game as his pitch on the emotions and the stakes creates the anticipated impact and draws out the best outcomes from the screen. Sidney Poitier is convincing as a protagonist but the real game changer in here is Rod Steiger in his parallel role steals the show with his stellar performance. In The Heat Of Night is a shattering and revealing showdown iterated in a night whose discectomy is just pleasingly ingenious to encounter.

Wuchak RELEASED IN 1967 and directed by Norman Jewison, "In the Heat of the Night" chronicles events in the town of Sparta, Mississippi, in the mid-60s when a rich entrepreneur (who's going to open a new factory in the area) is murdered and the white redneck police force led by Chief Gillespie (Rod Steiger) enlists the aid of a prim & proper expert detective from Philadelphia, Virgil Tibbs (Sidney Poitier), who just so happens to be black.This is basically a fish-out-of-water movie with Tibbs having to adjust to the prejudiced social dynamics of a small town in the Deep South just after The Civil Rights Act was passed in 1964 and the Voting Rights Act in 1965. The effect of those laws was only beginning to be understood, particularly the latter one. Sparta had a new voting block and blacks might even be the majority in that county. Regardless, they now had a voice in the democratic process.Times were a changin' and people like Gillespie and the mayor (William Schallert) needed to keep this in mind if they wanted to keep their jobs. Unfortunately, the uncultured deputies weren't necessarily up on this, which explains why, after the mogul is found murdered, Deputy Wood (Warren Oates) rashly zeroes-in on a black stranger in town. Of course they're all shocked to discover Tibbs' identity.Not used to murders of this magnitude, Gillespie humbly realizes that he might need Tibbs' expertise for his own welfare (i.e. to keep his job). A begrudging relationship develops where Tibbs slowly comes to respect Gillespie for his openness to change, insights and blunt honesty. The closing scene is actually heartwarming.There are, unfortunately, a couple of "Yeah, right" moments, like Tibbs' amazing knowledge of fern root. I'm sure that bit o' knowledge came in handy in Philadelphia! THE FILM RUNS 109 minutes and was shot in Sparta, Freeburg, Belleville and Chester, Illinois; Dyersburg, Tennessee; and (studio) Hollywood, California. WRITERS: Stirling Silliphant based on John Ball's novel. ADDITIONAL CAST: Lee Grant plays the mogul's wife while Quentin Dean appears as a sultry teen.GRADE: A-/B+

Richie-67-485852 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

sir-mauri There isn't much more you can say about this film other than the fact that it is almost brilliant in every way from the performances by Poitier and Steiger. To the screenplay to the director for letting his cast perform and not try to do some overly produced film. To even the score. Especially when they are chasing the guy along the bridge. Absolutely brilliant guess that's why it got a Best Sound nomination. But I think it also deserved a score nomination as well. and don't forget the soundtrack especially Boomer & Travis's song " Foul Owl On The Prowl" it's gonna stuck in my head for a long long time. A damn near perfect film in almost every sense. And even though I have seen it many times it still gets a reaction out of me when Poitier slaps that guy. Masterful film 9/10.