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Gerald S. O'Loughlin
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. Written by
Set in a hot Mississippi summer but filmed during autumn in Illinois, many of the actors had to keep ice chips in their mouths (and spit them out before takes) to prevent their breath from appearing on camera during the night scenes. See more »
In the scene where Chief Gillespie brings Virgil Tibbs into the morgue, he (Virgil) starts examining the body without wearing gloves. It was established earlier Virgil is an "expert homicide detective" from Philadelphia (during the phone call between Chief Gillespie and Tibb's boss). As such, he would never do that. See more »
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
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