127) In the Heat of the Night

In the Heat of the Night (1967)

Director: Norman Jewison

Starring: Sidney Poitier, Rod Steiger, Warren Oates, Lee Grant, Larry Gates

Ever since I read Mark Harris's fantastic book Scenes from a Revolution (a fantastic read which I have included in my newly added Books section), which was for some unknown reason originally released here under the title Pictures of a Revolution, I've been keen to see Norman Jewison's In the Heat of the Night. I spotted it at JB Hi-Fi for about $6 so thought it was a worthwhile investment.

When a prominent businessman, in the process of building a new factory in Sparta, Mississippi, is murdered, Virgil Tibbs (Poitier) is arrested at the train station where he was waiting for his connecting train to take him home to Philadelphia. Being a black man trying to get out of town seems to make him suspicious enough. When Police Chief Gillespie (Steiger) discovers that Tibbs is actually Philadelphia's leading homicide detective he reluctantly asks him for assistance with the investigation, and Tibbs reluctantly agrees under orders from his superiors. Gillespie's bigoted attitude, combined with his insecurities in the face of Tibbs expertise, makes for an uncomfortable working relationship, and the further into their investigation they get, the more apparent it becomes that Tibbs' life is in danger if he outstays his welcome in the racially charged town.

In Harris's book, he describes the scene in which Tibbs slaps Endicott as a key scene in terms of the changing racial landscape in America. Tibbs and Gillespie go to speak to the wealthy businessman Endicott (Gates), who Tibbs considers a suspect in the murder. When Endicott discovers he stands accused of murder he delivers a backhand slap across Tibbs face. Without blinking Tibbs returns the backhand slap, leaving Endicott stunned. He has clearly never had a negro retaliate to his abuse before. As Harris reported, black audiences cheered when Tibbs returned Endicott's slap. Suddenly on screen there was a strong, intelligent African American who was going to stand up for himself rather than just sit back and tolerate intolerance. This scene became a galvanising moment. It's amazing to think this was only five years after To Kill a Mockingbird. No longer was it the role of a noble white man to defend the voiceless black community, they had their own hero representing them in the form of Virgil Tibbs. And it isn't just this scene. The film's most often quoted line is another such moment of defiance:

Gillespie: (Aggressively) You're pretty sure of yourself ain't you, Virgil. Virgil, that's a funny name for a nigger boy that comes from Philadelphia. What do they call you up there?

Tibbs: They call me MISTER Tibbs!

Virgil Tibbs is presented as an admirable character in contrast to the inhabitants of the town of Sparta, Mississippi. He is shown to be easily the most intelligent and respectable figure in the film, but what makes him an excellent character is that displays frustration and bitterness about the racism he receives. He doesn't just take it on the chin. He doesn't feel duty bound to help Gillespie with his investigation, and there are a number of moments where he feels it's not worth his time putting up with the crap he's getting and makes to leave. Rather than reversing the existing racial views by placing a seemingly perfect black man in a sea of imperfect white people, Jewison's film humanises Tibbs. He is an admirable character, but still a human character.

Rod Steiger won a Best Actor Oscar for his performance as Gillespie. I think he put in a great performance as the intolerant police chief who slowly grows in respect for Tibbs. He thoroughly deserved the recognition, though I would suggest that it is highly debatable whether his was the leading role. I guess it can be read as ironic, given the film's thematic content, that Poitier was not recognised as the leading actor in the film.

In the Heat of the Night won the 1968 Best Picture Oscar over a field that included Bonnie and Clyde and The Graduate. In the decades that have passed since then it hasn't quite taken on the legendary status of those other two films, possibly because the two rather underwhelming sequels it spawned, The Call Me MISTER Tibbs! and The Organization, have reflected poorly on it, but also because much of its significance was tied into the social/political context it arose from. But while it is not remembered as one of the all time greats like the other two, it is still a fantastic film, a very interesting historical document, and well worth a look.