In the Heat of the Night (1967)

User Rating:

8.1/10   

Director:

Norman Jewison

Writers:

Stirling Silliphant (screenplay)
John Ball (novel)

Release Date:

14 October 1967 (Japan)

Genre:

Drama | Mystery | Crime

Tagline:

They got a murder on their hands . . . they don't know what to do with it.

Plot:

An African American detective is asked to investigate a murder in a racist southern town.

Plot Keywords:

Detective | Racist | African American | Murder | Investigation

Awards:

Won 5 Oscars. Another 17 wins & 12 nominations

Cast

Sidney Poitier	...	Virgil Tibbs
Rod Steiger	...	Gillespie
Warren Oates	...	Sam Wood
Lee Grant	...	Mrs. Colbert
Larry Gates	...	Endicott
James Patterson	...	Mr. Purdy
William Schallert	...	Mayor Schubert
Beah Richards	...	Mama Caleba
Peter Whitney	...	Courtney
Kermit Murdock	...	Henderson
Larry D. Mann	...	Watkins
Matt Clark	...	Packy
Arthur Malet	...	Ulam
Fred Stewart	...	Dr. Stuart
Quentin Dean	...	Delores

Runtime:

109 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono (Westrex Sound)

Certification:

Australia:M | South Africa:(Banned) | Iceland:16 | Canada:A (Nova Scotia) | Brazil:12 | South Africa:A (re-rating) | Argentina:13 | Canada:G (Quebec) | Canada:PG (Manitoba/Ontario) | Finland:K-16 | Norway:16 (1968) | Singapore:PG | Sweden:15 | UK:12 | USA:Approved | West Germany:12

Filming Locations:

Belleville, Illinois, USA

Company:

Mirisch Corporation, The

Trivia:

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.

Goofs:

Continuity: During the shot where Sam Wood first approaches the train depot, he casts a very long shadow reaching behind him all the way up the building wall as if lighting is directly in front of him. In the next shot when he is passing the door and sees Virgil, the shadow has greatly shrunk down as if the lighting is directly overhead.

Quotes:

[first lines]
Ofcr. Sam Wood: Where you keeping the pie tonight?
Ralph Henshaw, diner counterman: I ate the last piece just before you came in.

Movie Connections:

Referenced in Flushed Away (2006)

Soundtrack:

Bowlegged Polly

flawless movie, deserved Best Picture

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.