The 1960s in the United States were bad for American Africans. They fought against racism, which existed mainly in the southern United States. It was during these years that the film "Like the Heat of the Night", released in 1967, broke the glass ceiling in American cinema, with Sydney Poitier appearing in it as a proud and brave policeman who knew how to investigate and achieve results long before the white cops who underestimated him. The film won 5 Academy Awards, Best Picture, Best Actor (Rod Steiger), Best Editing (Hull Ashby), Best Sound (James Richard) and Best Screenplay (Stirling Silpant). This is in addition to the number of Golden Globe Awards, the New York Critics Award for Best Picture and the AFT Award for Best Picture.
When I watched the film, from a distance of about 55 years, I was drawn to it and really enjoyed it. Although it is seen that the cars are old, that the forms of interrogation are outdated and time has stopped reigning there. But, the qualities of the game are amazing and the content is fascinating. The movie "Like the Heat of the Night" tells the story of Virgil Tibbs (Sydney Poitier), an African-American police officer who usually lived in North Philadelphia, where there was no racism, who happened to be in a southern Mississippi town while waiting for a train to take him home.
At the same time and in the same town a murder of a wealthy industrialist took place, and the sheriff of the place, Bill Gillesby (Rod Steiger), was inexperienced in such cases. Another policeman, while patrolling the town, saw Tibbs waiting for the train, and decided to stop him only because of his color. At the police station it turned out he was a Philadelphia police officer, an expert on homicide investigations. The victim's wife recognizes his qualities and asks him to stay and help the police solve the mystery of who murdered her husband. Thus the two different from each other met for the purpose of change: Bill, the sloppy and plump sheriff, who hated colorful people, and the tall, thin and handsome Tibbs, with the sampled and perfect suits. They complemented each other, with Tibbs leading the investigation. Tibbs becomes a problem in the place, as we do not behave like the submissive American Africans in the place, but like any other white person.
The climax was when, as part of his interrogation, he and Bill travel to the landlord, Eric Andicott (Larry Gates), and he slaps Tibbs hard, and he gives him a ringing slap back. Endicott is angry at Bill for standing up and not intervening. The film clearly feels the interracial tension between whites and African Americans and also between Bill and Tibbs. As part of the work together, they bonded with each other, and Bill even invited Tibbs to his home, admitting that no one came to visit him. Eventually, at the end of the investigation, the surprising killer is discovered and Tibbs returns to Philadelphia accompanied by Bill and they shake hands at the train station. A wonderful film, currently on Yes as a tribute to Poitiers' death. As an island to see a spectacular game display of mighty players.
Comments