In The Heat Of The Night
The racial politics of In The Heat Of The Night may not be as shocking or edgy today as they were back in the bad old days of 1967. Matter of fact, it may even be a little corny and perhaps the drama can feel obvious, but as a piece of detective pulp it’s solid, and as a showcase for the great Rod Steiger at his scenery-chewing best it’s more than watchable. This was a period full of Southern dramas with some then socially hot elements - Hurry Sundown, ...tick…tick… tick…, The Liberation Of L.B. Jones, The Klansman, even The Chase. While those films are all utterly dated (they would seem a little more brave if they had been produced ten year earlier), In The Heat Of The Night holds up fairly well, because it’s a mystery film first, with a lot of style, and an all-star team behind the camera. It’s also the best of Sidney Poitier’s groundbreaking run of films in the '60s that made him the first black box office superstar.
In Sparta, Mississippi patrolman Sam Wood (the great character actor Warren Oates) makes his nightly rounds, after peeping at a topless woman he makes a startling discovery – the murdered body of wealthy Industrialist, Philip Colbert. Newly installed police chief Bill Gillespie (Steiger) sends him to check out the pool hall and bus station for any drifters, and wouldn’t you know it, Wood finds a well-dressed black man with a wallet full of bills waiting for a bus. The cops think they have an open and shut case, until they find out the black man, with a clear alibi, is actually Virgil Tibbs (Poitier), a Philadelphia homicide detective just ...
In a bleak, warless future society that stylistically looks a lot like the 1970s, corporations have taken over for governments. But without war the people are still bloodthirsty so they get their kicks from a sport called rollerball, a male version of roller derby, but way more violent and even deadly. Besides guys zipping around a track on roller skates, punching each other out, there are motorcycles too. Worrying that a player can get too popular, corporate head honcho Bartholomew (John Houseman) informs Houston’s star player, the he-man Jonathan E. (played by he-man actor James Caan, a couple years after The Godfather made him a big star), that he needs to retire, but Jonathan E. plays by his own rules and will do what it takes to not be a lackey for the man.
Rollerball director Norman Jewison had a long and respected career moving easily between comedy (The Russians Are Coming, The Russians Are Coming), social drama (In the Heat of the Night) and even musicals (Jesus Christ Superstar), but his work usually had a liberal take to it (A Soldier's Story, ...And Justice for All) and though he was no stranger to straight entertainment (The Thomas Crown Affair) he must have looked a little miscast as a sci-fi action director. Luckily the action is well shot and the rollerball game sequences are still amazingly exciting, but there are only a couple of those games so, at over two hours long, there’s a lot of exposition in between. As a kid, all the talk was boring and...
The Russians Are Coming, the Russians Are Coming
Written by William Rose, who was also responsible for the loud, brash and big It’s a Mad, Mad, Mad, Mad World a couple years earlier (as well as the overrated Guess Who’s Coming to Dinner), The Russians Are Coming, the Russians Are Coming is also a big ensemble comedy, but much better executed and focused than his previous script, with more heart and less mean-spiritedness. It also helps that it has a very able director at the helm, the nearly forgotten Norman Jewison, whose socially-conscious films still hold up (In The Heat of The Night, A Soldier’s Story, The Hurricane; The Russians Are Coming could also be considered part of that group). He had a number of films which were popular and respected in their day (The Cincinnati Kid, The Thomas Crown Affair, Fiddler on the Roof, Agnes of God, Moonstruck) and some fascinating curios (Jesus Christ Superstar, Rollerball and F.I.S.T.). He falls into that group of directors who emerged in the sixties like Arthur Penn, George Roy Hill, John Boorman and John Schlesinger who had a lot of acclaim and made some classics, but never became brand names like Polanski and Coppola, or even to a lesser extent Mike Nichols and Sydney Pollack. Jewison has as many solid films as his peers, though looking back none reach that same level of transcendence as a Bonnie and Clyde, Midnight Cowboy or Deliverance. For my money, though many would disagree, The Russians Are Coming, the Russians Are Coming is his film that holds up best today.
Based on a novel by Nathaniel Benchley (whose son Peter wrote the novel Jaws), set in a little New England beachy island community (very similar looking to that one in Jaws, though surprisingly actually shot in Northern California), where a Russian submarine gets stuck in a sandbar, leading to havoc in the town. This was a few years after the Cuban Missile Crisis, so this was the height of cold-war hysteria (think Dr. Strangelove), so even just having likable Russian characters was enough to make this film subversive to some. The film has dozens of characters, with top character actors of the day in peak form.Continue Reading