1960-1969

10.11.23 The slap that shook the cinematic world, many decades before Will Smith lost his shit and felt it necessary to defend his evil husband. In the Heat of the Night is about much more than the racial prejudice of a narrow-minded police detail in a small Mississippi town; it’s a valid reflection of the post-segregation, anti-black sentiment that was still so rife in ‘60s USA, and sadly continues to exist in some places today.  In terms of sweaty, grainy police thrillers, it just feels so solid, despite being pretty static and unrefined in terms of shot framing. Immeasurably helped by performances from Rod Steiger and even more from Sidney Poitier, In the Heat of the Night did the unthinkable upon first release, flipping ethnic stereotypes of male leads. With one side being virtuous and the other corruptible, the dual leads reflect both the visible and hidden sides of the law. Maybe it lacks the emotion of classics in the same era and genre like Dog Day Afternoon or The French Connection, but Poitier’s Virgil Tibbs is such a confident presence despite the hostility, that it covers up for the simple and unremarkable murder mystery plot. Even the famous ‘Mr Tibbs’ line delivery isn’t all that impressive, although some other moments such as with the plantation owner and Virgil’s thousand-yard staredowns upon Chief Gillespie are memorable and competently crafted.  What impresses me the most is the film’s veneer of social significance and the illusion of depth in its use of studying prejudice. Here lies a film best remembered for its ability to do the unthinkable during the civil rights movement; to make us empathise with the non-white American. This is chiefly down to Poiter’s professional candour and agency as the plot develops. The murder becomes less important than the backdrop. It just isn’t that absorbing and pales in comparison to the likes of Chinatown, Sleuth or The Long Goodbye, (some of my favourites from the era, albeit slightly later in release date). Thus the film relies more on exploring racism in a meaningful, impactful way rather than crafting an intricate ‘whodunit’.   The excellent Poitier and Steiger performances overcame noteworthy flaws, including an uneven script and an unconvincing finale. Still, for a film from 1967 that tackles issues of racism head-on, In the Heat of the Night is a significant and memorable drama. We should never overlook, despite its flaws as a thriller, its willingness to confront racial biases in a groundbreaking way, for its time at least. Norman Jewison’s important portrait of racism in small-town America continues to resonate, with the film providing an important historical snapshot of race relations, fully deserving of its famous one-liners and iconic memes.

12.3.24 Of all the gritty films that have tried to capture the slimy undercarriage of New York City nightlife, Midnight Cowboy remains my favourite. Despite its half-century age, it has lost none of its raw, honest charm in depicting the struggles of two vulnerable outsiders. Directed by John Schlesinger, the 1969 Best Picture winner spins a tale with poignancy beneath its rough edges. The brilliant performances by Dustin Hoffman and Jon Voight are what truly make this film shine. Hoffman was already acclaimed for The Graduate in 1969, but here he shapeshifts into the seedy but streetsmart Ratso. Voight is equally compelling in his breakout role as the naive Texan dreamer Joe Buck. Their unlikely friendship forms the heartwrenching core of the story as two societal castoffs lean on each other for survival on the harsh city streets. While their characters come from vastly different backgrounds, Hoffman and Voight create a palpable chemistry and comedic odd-couple rapport. The highs and lows of their odyssey exploring Manhattan ring valid, although the avant-garde party scene does push it. As their adventures unfold with a raw, documentary-like realism, the tender moments between them make the journey so moving. Under Schlesinger’s deft direction, Midnight Cowboy defies easy categorisation. It’s a late ’60s time capsule, a devastating character study, a pointed social commentary, and a celebration of tenacity all wrapped into one. You get the sense that the unlikely friendship between Ratso and Joe was just one of countless other desperate stories playing out simultaneously on the unforgiving streets of the era. A rough journey but utterly absorbing.

12.02.23 With the success of HBO’s The Last of Us, as well as me drudging through the second video game (fuck Abby), it felt like a good time to seek out the grandaddy of zombie films, George A. Romero’s seminal Night of the Living Dead. It’s a masterfully simple yet effective horror film with a certain charm and a deft social undercurrent. Although the story only takes place during a single day, it feels so ambitious regardless, and many of the characters’ decisions and castings are very bold. What a brave fucking choice to cast a black man in the lead role, especially when you write him to punch a white woman in the face (and much more after that). There are no famous stars in the film but all the players give committed performances in tough new roles that had never been seen on screen before 1968. Although the zombie gore is muted, the violence between the human characters is not, which can be read in an assortment of ways. The sense of dread is ever present and death is all around the cabin, with trophy animals on the walls and the undead clasping to get through the windows. The use of non-diegetic sound from the radio reports and outdoor crickets seems really innovative and adds a layer of urgency to proceedings. There are so many archetypal elements to admire, and the influence they have had on modern tales is palpable (for me it was Resident Evil 4 and Shaun of the Dead that came to mind first.) In retrospect, Night of the Living Dead upholds the sense of the unknown, balances frights with a sharp cultural commentary and deserves its status as the OG zombie movie. You might just enjoy The Last of Us a little bit more upon inspection of one of its key influences in the genre. Available in HD on MUBI and also on YouTube for the tightarses.