IMDb > In the Heat of the Night (1967)
In the Heat of the Night
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In the Heat of the Night (1967) More at IMDbPro »

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Overview

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8.0/10   43,277 votes »
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Director:
Writers:
Stirling Silliphant (screenplay)
John Ball (based on a novel by)
Contact:
View company contact information for In the Heat of the Night on IMDbPro.
Release Date:
14 October 1967 (Japan) See more »
Genre:
Tagline:
They call me Mister Tibbs See more »
Plot:
An African American police detective is asked to investigate a murder in a racially hostile southern town. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Won 5 Oscars. Another 17 wins & 12 nominations See more »
User Reviews:
flawless movie, deserved Best Picture See more (161 total) »

Cast

  (in credits order) (verified as complete)

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

Scott Wilson ... Harvey Oberst
Timothy Scott ... Shagbag
William Watson ... McNeil (as William C. Watson)
Eldon Quick ... Charles Hawthorne

Stuart Nisbet ... Shuie
Khalil Bezaleel ... Jess

Peter Masterson ... Fryer
Jester Hairston ... Butler
Phil Adams ... 1st Tough
Nikita Knatz ... 2nd Tough
Sam Reese ... Clerk
Anthony James ... Ralph
rest of cast listed alphabetically:
Buzz Barton ... Conductor (uncredited)
Philip Garris ... Engineer (uncredited)
Clegg Hoyt ... Deputy (uncredited)
Warren Kenner ... Undetermined Role (uncredited)
Michael LeGlaire ... City Councilman (uncredited)

Alan Oppenheimer ... Ted Appleton (uncredited)
David Stinehart ... Baggage Master (uncredited)
Jack Teter ... Philip Colbert - Murder Victim (uncredited)

Directed by
Norman Jewison 
 
Writing credits
Stirling Silliphant (screenplay)

John Ball (based on a novel by)

Produced by
Walter Mirisch .... producer
 
Original Music by
Quincy Jones (music by)
 
Cinematography by
Haskell Wexler (director of photography)
 
Film Editing by
Hal Ashby (film editor)
 
Casting by
Lynn Stalmaster 
 
Art Direction by
Paul Groesse 
 
Set Decoration by
Robert Priestley 
 
Costume Design by
Alan Levine (uncredited)
 
Makeup Department
Del Armstrong .... makeup
 
Production Management
Jim Henderling .... production manager (as James E. Henderling)
Howard Joslin .... unit production manager (as J. Howard Joslin)
Allen K. Wood .... production supervisor
 
Second Unit Director or Assistant Director
Newt Arnold .... second assistant director (as Newton Arnold)
Terry Morse Jr. .... first assistant director
 
Art Department
Stephen R. Ferry .... property
Joseph Musso .... production illustrator (uncredited)
 
Sound Department
Walter Goss .... sound
Clem Portman .... rerecordist
James Richard .... sound editor
Kevin F. Cleary .... sound (uncredited)
Charles Cooper .... sound (uncredited)
 
Stunts
John Moio .... stunts (uncredited)
 
Camera and Electrical Department
Ralph Gerling .... camera operator (uncredited)
Ross A. Maehl .... gaffer (uncredited)
Morris Rosen .... key grip (uncredited)
Don Stott .... gaffer (uncredited)
 
Costume and Wardrobe Department
Alan Levine .... costumer: men
 
Editorial Department
Byron 'Buzz' Brandt .... assistant film editor (as Byron Brandt)
 
Music Department
Alan Bergman .... song lyrics
Marilyn Bergman .... song lyrics
Richard Carruth .... music editor
 
Other crew
Hal Ashby .... assistant to the producer
Murray Naidich .... titles
Meta Rebner .... script supervisor
Wayne Fitzgerald .... title designer (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
109 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Mono (Westrex Sound)
Certification:
Argentina:13 | Australia:M | Brazil:12 | Canada:PG (Manitoba/Ontario) | Canada:A (Nova Scotia) | Canada:G (Quebec) | Finland:K-16 | France:U | Germany:12 | Iceland:16 | Netherlands:14 (orginal rating) | Norway:16 (1968) | Singapore:PG | South Africa:(Banned) | South Africa:A (re-rating) | Spain:18 | Sweden:15 | UK:12 | USA:Approved (Suggested for Mature Audiences) | USA:TV-14 (TV rating) | West Germany:12
Filming Locations:

Did You Know?

Trivia:
Rod Steiger spoke in the southern dialect consistently for the duration of filming.See more »
Goofs:
Revealing mistakes: When the fugitive jumps down the embankment after crossing the tracks the man's head disappears just before he fully gets down the embankment.See more »
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.
See more »
Movie Connections:
Soundtrack:
In the Heat of the NightSee more »

FAQ

How does the movie end?
How much sex, violence, and profanity are in this movie?
Where was "In the Heat of the Night" filmed?
See more »
105 out of 126 people found the following review useful.
flawless movie, deserved Best Picture, 29 March 2004
Author: dr_foreman from Brooklyn, NY

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.

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