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Spencer Tracy's last performance was in this well-meaning, handsome film by Stanley Kramer about a pair of white parents (Tracy and Katharine Hepburn) trying to make sense of their daughter's impending marriage to an African American doctor (Sidney Poitier). The film has been knocked over the years for padding conflict and stoking easy liberalism by making Poitier's character in every socioeconomic sense a good catch: But what if Kramer had made this stranger a factory worker? Would the audience still find it as easy to accept a mixed-race relationship? But there's no denying the drawing power of this movie, which gets most of its integrity from the stirring performances of Tracy and Hepburn. When the former (who had been so ill that the production could not get completion insurance) gives a speech toward the end about race, love, and much else, it's impossible not to be affected by the last great moment in a great actor's life and career. --Tom Keogh ... Read more

Reviews (64)

An All-time Classic
Aside from calmly, reasonably confronting a social taboo of the '60s -- racially mixed marriages -- in a thoughtful, touching manner, this film features career-high performances from several of Hollywood's finest. Spencer Tracy is absolutely brilliant in his final screen appearance as the avowed liberal newspaper publisher Matt Drayton, who, along with his idealistic wife (a role that earned Katherine Hepburn her second Best Actress Oscar) learns that their barely-20-year-old daughter is planning to elope with a black physician (played with cool passion by Sidney Poitier). The story evolves from Poitier's confidence in the two shocked parents that, without their full approval, the marriage will not go on -- and there are only hours to decide. Add his parents to the mix, and as the list of dinner guests grows so does the tension. Aside from the marvelous script, memorable performances and outstanding direction, photography and music there is a chemistry in the mix that truly creates an energy greater than the sum of its parts -- and when the parts are this good, the result is a film for the ages that goes straight to the heart of themes like love, passion, prejudice and family conflict. In the end love does conquor all in Tracey's powerful final speech, made more poignant by a visibly moved and misty Hepburn -- perhaps cognizant that she was witnessing the final curtain call of a great actor. This is the magic Hollywood is capable of, a movie that re-affirms one's faith in the ideals of love and equality, and certainly belongs in every collection.

4.5 Stars; Needs Historical/Cultural Context Remembered
The Story: Spencer Tracy and Katharine Hepburn play the parents of young Katharine Houghton, who brings home her well-educated fiancee to meet the parents. The parents are not expecting their daughter's fiancee, a physician, to be African-American, but Sidney Poitier certainly is. The film focuses on the parents' discomfort over the biracial marriage.

When the story begins, it's easy to think that the movie studios were aiming to do two things: make one more movie with Katharine Hepburn and Spencer Tracy (this was his last film, and he was quite ill during its making); and make a simple statement about racial tolerance. This film could easily have ended up with a very contrived, forced air to it. But, that doesn't happen when you put Spencer Tracy, Katharine Hepburn, and Sidney Poitier together in a film. The cast rises above the simplicity of the premise. Some have said that making Poitier's character a well-educated doctor weakened the racial conflict potential, but I lived just outside of Detroit in 1967, and ANY biracial marriage was a controversial idea to base a film upon. It also put the race issue right on the table, as the parents had no basis upon which to object to their daughter's marriage, except for their discomfort over the race issue.

Overall, if the viewer remembers when this film was made, the quality of the cast makes it a real winner.

Bit Prepackaged for My Taste
More like 3.5 stars. There's nothing particularly wrong with this movie but it's not the genius its been made out to be either. It's not nearly as daring as it likes to think it is. He's a wealthy, smart, sophisticated mature professional. She's an airhead. He's black and she's white. He's a catch and a half and she's a twit. The real question should not be why does she want to marry a black man but rather what he sees in her. Of course they will have problems with the intolerant aspects of society. Of course their children will be teased and mistreated by racist adults and ignorant children. But this film was made in the late 60's, not the late 30's. It's also set in San Francisco (Liberal Heaven) and not in rural Mississippi. The white girl's parents are liberals through and through. Poitier's character's parents are a working man & his wife from Los Angeles. Notice how Tracy's character does not object to his daughter marrying a black man but is deeply concerned by how a mixed couple & their children will be received in society. This movie gives itself every break it possibly can to ease its way down a receptive audience's throat.

Boring...
This movie has been hailed as being a great piece of work; I tried to watch it. I really did and I could not do it. Portier plays his role well; but then again it is not like he has to act; he just has to be himself. Stay away from this miserable piece(...).

Landmark film about racial prejudice
Considered a landmark film, it addresses racial prejudice and interracial marriage in a time when sixteen states in America still upheld laws that made miscegenation a crime. It is important to pay attention to past racial and ethnic issues, in order to understand those today and to see whether any 'progress' towards a more 'tolerant' society has been made. Guess Who's Coming to Dinner is an entertaining, straightforward and well-meant film that will hopefully make students aware of the controversy of interracial relationships throughout the decades and centuries even. Being a child of mixed race parents, I find the film meaningful in showing two people of different races, being very much in love and very willing to face all the social obstacles their interracial relationship is bound to encounter.
Summary
In Guess Who's Coming to Dinner the 23-year-old, white, upper class Joanna "Joey" Drayton (Katharine Houghton) brings home her fiancé John Wade Prentice (Sidney Poitier) to meet her parents. When he turns out to be a distinguished 37-year-old black doctor, the "liberal" progressive parents (Katharine Hepburn and Spencer Tracy) are forced to re-examine their beliefs regarding interracial marriage and are given one single day to do so. Before the parents can get all of their objections sorted out, they have John's parents coming to dinner as well. Both sets of parents have reservations about this union, but try to come to terms with the interracial marriage.
Discussion
Guess Who's Coming To Dinner? raises several questions or issues that might be interesting to discuss after viewing it. The film's main themes are interracial relationships and prejudice, and it advocates a mixed race marriage, which makes it a very progressive movie for the 1960s. Considered progressive as well are Joey's 'liberal' parents who have raised their daughter not to be prejudiced and they have done this successfully, with her 'lack of' prejudice extending to her being able to fall in love with an African American. The parents are then left to consider whether they really believe in their acclaimed 'liberal thinking' and this may raise important questions with the viewing audience. Are human beings really as liberal or conservative as they think they are when it comes to practicing what they preach?
If it is not race that prevents the parents (the fathers in particular), both Joanna's and John's, from approving the marriage, what is?
The only objection to the interracial marriage vocalized in the film is the harsh treatment they will most likely receive from society. Although this is a valid and probably accurate objection, it is debatable on whether the fathers do not have more personal objections. The movie glosses over the subject of interracial marriage without getting too detailed, but the concern on whether the couple understands the adversity they will face if they go ahead with their interracial marriage is very clear.
The themes addressed in the film were still much of a taboo in the 1960s, so in order to merely create a 'mild controversy', the director seems to have made the relationship between John and Joey as 'acceptable' as possible. Infallible and with impeccable credentials as a prize-winning doctor and working for the World Health Organization, John is portrayed as an in-laws dream. The character is in every socioeconomic sense a 'good catch': What parent would not want him as a son-in-law? But what if the director had made the fiancé a factory worker? Would the audience still find it as easy to accept a mixed-race relationship?
Also, to reduce the seriousness of the racial themes, the film is presented as a comedy. This means that conservative viewers can laugh about it while telling themselves that these events would never really happen. Finally, Joey and John avoid their biggest challenge by intending to live abroad for John's work. Therefore, they will not have to cope with the racial tensions in the country and they will not have to combine two communities and identities or have to pick one over the other.
When it was released it 1967, Guess Who`s Coming to Dinner reflected upon the changing race relation in America. Interracial intimacy and marriage in particular were delicate themes to discuss, which makes this film so important, both at that time as well as today. The individual right to choose a sexual partner, select a spouse and raise a family could not be fully exercised in all of the United States up until the Loving decision in 1967, which banned anti-miscegenation laws. Although these laws disappeared, the prejudices that had always accompanied them, could not be banned so easily. They persisted, despite the colour blind ideal.
The fact that the Joey's father is an intellectual liberal forced to face his own buried prejudices gives the film an important message that should still be considered today. On some deeply personal level many people are still prejudiced, no matter how hard they try to tell themselves otherwise. In Guess Who's Coming to Dinner Spencer Tracy's character comes to this realization, but is able to put his objections for his daughter's happiness. The film chooses to be colour blind like Joey's father and lets pure and simple love instead of race be the basis for a successful marriage. Or as Matt Drayton argues in his 'final analysis' in Guess Who's Coming To Dinner:
"[...] in the final analysis it doesn't matter a damn what we think. The only thing that matters is what they feel, and how much they feel for each other. And if it's half of what we felt ... that's everything". ... Read more

Description

The hottest day of the year explodes onscreen in this vibrant look at a day in the life of Bedford-Stuyvesant, Brooklyn. Featuring a stellar ensemble cast that includes Danny Aiello, Ossie Davis, Ruby Dee, Richard Edson, Giancarlo Esposito, Robin Harris, Samuel L. Jackson, Bill Nunn, Rosie Perez, and John Turturro, Spike Lee's powerful portrait of urban racial tensions sparked controversy while earning popular and critical praise. Criterion is proud to present Do the Right Thing in a new Director Approved special edition. ... Read more

Reviews (94)

A brilliant, scorching movie
Spike Lee takes us to a single block in Brooklyn on the hottest day of the year in his awesomely brilliant movie "Do The Right Thing". The movie opens on a sultry early morning; by the time it ends, on a sweltering midnight of the same day, the heat, and the movie, have built up unbearable tensions that explode in in a confrontation that engulfs the street and everyone in it. At the heart of the block and the movie is Sal's Famous Pizzeria, run by Sal and his two sons from Bensonhurst (also in Brooklyn but it might as well be on the other side of the planet), with its "Wall of Fame" covered with photographs of famous Italian-Americans, glaringly out of place and insultingly insensitive on this African-American street in Bedford-Stuyvesant. The movie presents us with an unforgettable set of characters, including Danny Aiello in a great performance as Sal, Spike Lee as Mookie, his delivery man, Rosie Perez as Mookie's long-suffering and neglected girlfriend, Giancarlo Esposito as Mookie's radical friend Buggin' Out, Bill Nunn as Radio Raheem with his suitcase-size boom box that eats up 20 D batteries at a clip, the nearly legendary husband-wife acting team of Ossie Davis and Ruby Lee as Da Mayor, the street bum, and Mother Sister, the neighborhood snoop (every neighborhood has to have one), Samuel L. Jackson as Senor Love Daddy, and Joie Lee, Spike Lee's real-life sister, who plays Mookie's sister Jade in the film. Among a host of minor characters, the best are the three men parked on the sidewalk, ML, played by Paul Benjamin, Coconut Sid, played by Frankie Faison, and Sweet Dick Willie, played by the late Robin Harris, who act as a kind of Greek chorus to the unfolding events. Much of the speaking parts of these three was ad-libbed on camera, and the actors seem to have had a ball with their characterizations (Buggin' Out: "You wanna boycott Sal's Famous Pizzeria?" Sweet Dick Willie, observing Buggin' Out's every-which-way haircut: "You oughta boycott that barber who f---ed up your head.") Always present, and intrusive, are a squad car with two white cops, who view the neighborhood inhabitants, and are viewed by them, with undisguised contempt. The street, and the environs, are so convincingly portrayed that the heat is palpable; we can almost feel their discomfort as we sympathize at their attempts to alleviate it. One of the most priceless scenes in the film is the loudmouthed "alien" who drives through the block in an open Cadillac convertible and dares the kids to get it wet (when he finally manages to pull over and open the door, Niagara Falls spills out). A demand by Buggin' Out that Sal put some photographs of blacks on the Wall of Fame, which Sal dismisses out of hand, sets the stage for the confrontation that will blow sky-high. Buggin' Out returns to the pizzeria just before closing time with Radio Raheem, boom box blasting away at full volume, and Sal, his last nerve shot, silences the noise with a baseball bat. The resulting free-for-all spills out into the street just as the police arrive; Radio Raheem is pulled off Sal, who he is choking silly, and killed by the police with an illegal choke-hold. The police speed off (one could say they fled the scene of their crime), leaving Sal and his sons alone to face the neighborhood's rage. The pizzeria is torched, the neighborhood riots, and the firetruck arrives with firehoses turned on the rioters instead of the pizzeria, in a scene reminiscent of Sheriff Bull Connor in 1960's Alabama. "Do The Right Thing" is one of the most searing commentaries on American race relations that has ever been put on film. It's provocative, it's insightful, it's profound, it's a masterpiece, and it's definitely Spike Lee's best movie.

Do the Right Thing Review
It's the hottest day of the summer and racial tensions run deep in the Bed-Stuy section of Brooklyn, New York. This is the backdrop for Spike Lee's controversial 1989 film, "Do The Right Thing". Many critics and movie-goers were quick to blast this film for being what they perceived to be a "racist" movie. Most people who say this have probably only seen the movie once and were so quick to complain about its tension-filled ending.

"Right Thing" stars writer-director Lee as Mookie, a somewhat lazy pizza delivery boy who works at the local pizzeria run by Sal and his Italian-American sons. Through Mookie's many trips through the neighborhood, we get acquainted with some of the other "characters" such as the block's "wise man" (or "town drunk", depending on how you perceive him), "Da Mayor" (Ossie Davis). We also get introduced to the trouble-making Buggin' It Out who is intent on boycotting Sal's Famous until they "put some brothas on the wall". Then, there's Radio Raheem, whose boombox blasts Public Enemy's "Fight The Power" loudly through out the movie. He doesn't speak much as the music seems to be his outlet of expression. It also happens to get him in a lot of trouble as the movie progresses.

Lee's treatmant of certain characters in "Right Thing" is questionable at times. He seems to feel strongly that many of the white characters in this New York neighborhood would root for Boston sports teams because their top players are also white. At times, Danny Aiello's Sal seems sympathetic and kind while in the end, he is more or less portrayed as a "closet racist". This might be why some of us are so fast to make observations about the film's racial biases but I've never felt that "Do The Right Thing" has ever been about who is right and who is wrong. In the end, everyone loses out because rather than go about handling certain small problems by compromising, people choose to argue over who is "doing the right thing" and who isn't. In the end, people are hurt and killed, property is destroyed, and all that seems to remain is animosity.

While I may argue with the way that Spike wrote certain characters, this is "his" movie. Would the ending situation have been any different if he had re-wrote them? Probably not. So many of its critics fail to see the big picture with "Do The Right Thing". It isn't about whether Sal was right or whether Mookie was right or Buggin' It Out. The original problem was so small, so minor, and each of the characters allowed it to balloon into a big one. Even the less important characters contributed to the problem by instigating it further. The only character who seemed to understand what was going on was Samuel L. Jackson's almost narrator-like radio DJ, Senor Love Daddy. He understands it, he sees the tension esculating, and he is telling everyone to relax but it's too late. "And that's the triple truth, Ruth".

"The left hand is hate. The right hand is love."
This movie is largely an angry, outrageous film. But it is also a beautiful and enlightening one. DO THE RIGHT THING garnered Spike Lee, writer, director, and star of the film, both praise and criticism. But what you must remember, those who either praise it or look down upon it, is that DO THE RIGHT THING couldn't be further from the truth.

DO THE RIGHT THING was an introduction to Lee's brazen and bold style of filmmaking. He had a part in every aspect: direction, cast, production, writing the screenplay, etc. That's why, if someone is interested in seeing a "Spike Lee joint", I will definitely recommend DO THE RIGHT THING first and foremost.

It's a look at race relations in America circa 1989, a drastic glimpse in which the outsiders, meaning the audience, can feel as if they are right there in Harlem with Mookie (Spike Lee).

Mookie is an unmarried father, a boyfriend to Tina (Rosie Perez), loud and outspoken with her buxom figure. She pushes Mookie to spend more time with her and their son, complaining about him being a deadbeat dad. His excuse? Work.

True, much of Mookie's time is spent working at Sal's, a pizzeria in Harlem, run by white Italians in a neighborhood where the population appears to be around 99.5 percent black.

Other characters include Radio Raheem (Bill Nunn), Da Mayor (Ossie Davis), Mother Sister (Ruby Dee), Buggin' Out (Giancarlo Esposito) and Jade, Mookie's sister (Joie Lee). Radio Raheem's dialogue throughout the film it limited - he more or less expresses his freedom through his incessantly blaring radio. In fact, throughout the entire movie, Public Enemy's "FIGHT THE POWER" blasts throughout the neighborhood. Buggin' Out is irked with a situation at Sal's that he feels must immediately be taken care of. He just wants Sal to "put some brothas" up on his restaurant's walls, right beside pics of Frank Sinatra and Clark Gable. Sal (Danny Aiello) refuses to comply with Buggin' Out's request.

In the end, Radio Raheem and Buggin' Out fuel an argument that quickly evolves into a neighborhoodwide conflagration. Alas, Mookie fuels the fire by hurling a trashcan through the glass window of the pizzeria - his boss' pizzeria - and the brawl proceeds, with Sal and his sons standing on the sidelines.

DO THE RIGHT THING is an odd title for a film like this, some people may think. Is the right thing done? Does Lee believe that the characters in his film did the right thing? I'm not sure. The title can be interpreted in a number of ways, I suppose. First, I suspected it was irony. No, Mookie didn't do the right thing! He fueled the fire and instigated the riot to mammoth proportions! Property was destroyed and damaged! My second conclusion was merely that "doing the right thing" serves as an argument for the people, for people unwilling to make compromises or verbally come to an agreement through reasonable, mature conversation. In reality, the film isn't about who is right and who is wrong and why. You had people like Mookie, who seemed to act on impulse, and then you had Da Mayor, trying to calm the livid people down, trying to talk sense into their heads. People evidently followed Mookie's lead and in the process, they hurt and killed others, seriously damaged and neighborhood properties. Not only that, but mere misunderstanding and hate seems to exist between them, even after the riot ends. That's a sad thing, yet it's also a very true thing.

Lee's picture clarifies the fact that yes, misunderstanding between peoples does fuel hate, which, in turn, fuels even bigger and uglier physical problems. DO THE RIGHT THING was taboo for how it portrayed peoples of different races, yet for film's time, the state of Harlem and its residents was portrayed with frank and genuine realness that simply can't be denied. Certain characters, settings, and events rung clear and true. DO THE RIGHT THING is arguably one of the finest examples of race relations illustrated in film. You can watch and rewatch - and learn - from this tumultuous and dramatic "Spike Lee joint".

An EYE OPENER
The eye opener of the year...I loved it. Excellent story line and a must see movie by mature audiences only. Very compelling!

That¿s the double-truth¿ Ruth
In all likelihood Spike Lee's most important achievement - as director, writer and actor (though to my taste Mo' Better Blues is just as good a picture) and one of the strongest films you'll see about race relations, 'Do The Right Thing' looks dated at times, but it lost none of its impact and relevance. The movie takes place in a particularly hot day in a primarily African-American neighborhood in Brooklyn, and follows the various personalities who live there throughout the day; the center of the story is Sal's Famous Pizzeria - its owners, some of the few white people living in the neighborhood: Sal (Oscar nominated performance for Danny Aiello) and his two sons (John Torturro and Richard Edson), and Mookie (Spike Lee himself), the black delivery boy. What starts out as a light, entertaining movie with some amusing characters and light humor, gradually builds up tension to the point of being unbearable, up to the dramatic and tragic climax. Spike doesn't put as much emphasis on the characters themselves as he does on the relationships and the tension between them; and in this image of a very specific and small frame in time and place, makes a strong and important message about racism and race relations in general.

The film is populated with many different characters, all of them very memorable and each one a representative of a certain belief, mode of behavior or state of mind - on both sides of the conflict. From the uninhibited anger of Buggin Out (Giancarlo Esposito) and Radio Raheem (Bill Nunn) on one side and Pino (John Torturro) on the other side, to Jade (Joie Lee, Spike's sister in the film and in real life) and Vito (Richard Edson), who are trying to connect and live at peace with the other side, to Da Mayor (Ossie Davis), in his isolated but peaceful state of mind, living in complete peace with the world around him, and Smiley (Roger Smith), living in his own isolated existence. Then there's Mookie, who is stuck in the middle, torn between his commitment and responsibilities to both sides. Finally we have Mister Senor Love Daddy - played gorgeously by the one and only Samuel L. Jackson, in one of his finest performances - half active character and half all-knowing narrator - who represents the voice of reason in the conflict, the reason which is bound, ultimately, to collapse. Each and every character plays an important part in the climatic and dramatic conflict to which the movie builds up, and though it's the radical ones - Buggin Out and Radio Raheem - who trigger the events that cause the tragedy, they are not necessarily the ones who finish it. It is Mookie and Sal, in fact, who ultimately play the main part.

Do The Right Thing is not an easy watch; it's a mesmerizing, tense, difficult film that breaks many taboos and slaughters many holy cows. But in the end of it - hopefully - you'll be wiser than you were in the beginning, and that's what Lee have always tried to achieve in all his films. Watch it to get a real view on racism that doesn't duck the difficult issues and isn't afraid to tackle the real problem, and to see a master director at work. It's one of the best films of its time. ... Read more

Reviews (34)

Explosive Mystery-Drama
In The Heat Of The Night is an explosively powerful murder mystery that at the time of its release in 1967 was quite controversial. It deals with a black detective, Virgil Tibbs (Sidney Poitier) going to a small southern town to investigate a murder. At first he meets the usually hatred and racism from the local cops led by the gruff and racist sheriff, Bill Gillespie (Rod Steiger) He is arrested and accused of the murder, but when discovered innocent, he goes on to solve the mystery and gain the respect of the sheriff. Both Mr. Poitier and Mr. Steiger are brilliant in the film. Although they do sometimes plays things over the top, the acting fits the mood. The actors make a fine team and they push one another to excellence. The supporting cast is quite strong with Lee Grant, Warren Oates and William Schallert and Norman Jewison guides the movie with his deft hand. Haskell Wexler's cinematography is sharp and Quincy Jones' soundtrack is right on. The film went on to win the Best Picture Oscar and Mr. Steiger took home the Best Actor prize.

Cinema's all-time best detective thriller.
Between the dark film noir of "The Maltese Falcon" and the creepy gorefests inspired by "The Silence of the Lambs," the detective film wasn't exactly a vital film genre. But at least one entry into the genre made a major impact during those years, and that was 1967's "In the Heat of the Night." Since it was released, much has been made of the movie's status as a powerful story of race relations during the time of segregation, but the fact is, these elements are somewhat secondary to its brilliant character studies and expertly-handled mystery investigation. This is THE detective film, and quite possibly THE police film as well.

The film begins with Bill Gillespie (Rod Steiger) -- sheriff of the small town of Sparta, Mississippi -- investigating the scene where a powerful businessman has been murdered. Gillespie's deputies arrest a traveller named Virgil Tibbs (Sidney Poitier) for the murder simply on the grounds that he is black, but he turns out to be a homicide detective from Philadelphia who was just passing through. After being cleared, Tibbs is anxious to leave Sparta, but Gillespie -- in need of such an expert -- convinces him to stay and help solve the case. And from there, we have our movie.

Besides the story, the main thing "In the Heat of the Night" has going for it are the performances of its lead actors. It would have been incredibly easy to portray Tibbs as a noble black crusader, forced by his innate nobility to offer his help in the face of hatred (Poitier had played this type of good-natured gentleman in many of his other films). It would have been even easier for Gillespie to come off as a mindless racist redneck. Neither description comes anywhere close to describing the characters in this film. Virgil Tibbs is arrogant and aloof when we first meet him. He's no hero; he's a real human being who reacts to the way the Sparta police have treated him in the understandable manner of trying to get out of town as quickly as possible. He doesn't want to help them, and even when he's forced to, he lets his prejudices against Southern whites cloud his investigation (Tibbs spends the majority of the film believing one of the victim's business rivals -- a detestable racist -- to be the murderer, only to be proven wrong).

If Poitier's portrayal of Tibbs as a realistic human being rather than a flawless screen hero is admirable, then Rod Steiger's handling of the Sheriff Gillespie character is downright masterful. Bill Gillespie does not like or trust African-Americans, and he makes no secret of this. And yet the filmmakers didn't fall into a cliche trap and take care to show that even though Gillespie is a bigot, he's also a good cop. Unlike certain similar characters (and even some of his deputies in this film), Gillespie doesn't allow his prejudices to stand in the way of his investigation (a character flaw that, oddly enough, Tibbs gives in to while Gillespie does not). This is no "Bull Connor" character; this is a man who knows his job, and does it well. Tibbs and Gillespie begin the movie as two prejudiced men who begrudgingly admit to needing each other's help due to the circumstances (Gillespie's lack of a homicide expert; Tibbs' being forced to remain in an unfamiliar and hostile environment), and end it with a powerful respect for one another.

"In the Heat of the Night" won Best Picture at the 1968 Academy Awards (the first detective film to do so), and Steiger took home the Best Actor award for his career-best portrayal of Gillespie. (Because this, "Guess Who's Coming to Dinner," and "To Sir, With Love" were all released in the same year, Poitier was unable to consolidate enough votes for any one film and thus failed to be nominated; Norman Jewison lost Best Director to "The Graduate"'s Mike Nichols.) That perfectly sums up this film's legacy: a brilliant film with two powerful lead performances, and an all-time classic of the detective genre.

Just About as Good as a Movie Gets
In 1967 Poitier made this movie and Look Who's Coming to Dinner. Both were extremely well received and this won academy awards for best picture and best actor. Poitier's career slid downhill from here almost immediately. That his status as The Greatest Black Actor Ever hasn't diminished nearly 40 years later is a testament to his excellence and influence in the late 50's and the 60's up until '67. The movie is nearly perfect. Rod Steiger gives the performance of his career. Poitier is excellent, of course. The story is good but the movie is really about the racial tensions and two men forced to work together despite their desire not to be in the same room together. Also at hand is a backward and archaic South being slowly dragged kicking and screaming into postwar 20th century.

TENSIONS FLAIR IN THE HEAT OF THIS NIGHT!
"In The Heat of the Night" is the racially charged melodrama that made Sidney Poitier a star. Poitier is Det. Virgil Tibbs, an out of state detective assigned to investigate a racially motivated crime in the deep South. Tibbs' initial congenial good nature immediate brand him a push over by both his fellow officers and the populous. But Tibbs is a man of conviction. He immediately runs into interference from Police Chief Bill Gillespie (Rod Steiger), a bigoted and pompous law man who begins to change his ways when it turns out that Virgil's hunch on the case might just turn out to be true. Both the central performances of Poitier and Steiger, and the unlikely bond and ultimate friendship that ensue, are electrifying reasons to revisit this powerful drama of the 1960s. Lee Grant, Beah Richards and Warren Oates costar. In the late 80s "In The Heat of the Night" became a prime time television series starring Caroll O'Connor. But by then much of the tempestuous and confrontational aspects of its subplot had been removed.

MGM/UA gives us a non-anamorphic widescreen DVD. Colors are severely dated with a lot of fading present throughout the print. Age related artifacts are everywhere and sometimes distract. Black levels are often weak. Pixelization is primarily responsible for an unstable image. The audio is mono and badly dated as well, strident and poorly balanced. There are no extras.

STEIGER AND POITIER AT THEIR HEIGHTS OF POWER
In 1967, Sidney Poitier again stirred the red-necks with "In the Heat of the Night", where he plays Virgil Tibbs, a competent Philadelphia cop stuck overnight in a Mississippi town. It must be 110 degrees at night. The white boys sweat like stuck pigs while Virgil is as cool as a cucumber in a Savoy Row suit. The sheriff, Rod Steiger, is discomfited by circumstances in which Tibbs is "lent" to him to solve a murder that happens to occur when he is there. In working together, layer after layer of characterization is stripped away in marvelous fashion, through the skill of director Norman Jewison (who tells everybody he is not a Jew, he is Methodist), until understanding between the two men become a metaphor for the healing of a divided America. Very good stuff.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

Reviews (44)

Poitier Is Masterful
1967 was an incredible year for Sidney Poitier. He starred in three magnificent films, the Academy Award winning films, In The Heat Of the Night & Guess Who's Coming To Dinner and this superb movie. Mr. Poitier stars as Mark Thackery who is an engineer, but in need of a job accepts a teaching position at a tough West End school. His class is made up of unruly ruffians and at first they rebel against him. It becomes obvious to Thackery that these kids don't have an interest in learning normal academics and that none of them will pursue higher education so he decides to prepare them for live by giving them lessons on how to cope in the real world. He gives cooking lessons, make up lessons for the girls, takes them to museums and they develop a respect and love for each other. Judy Geeson is fabulous as Pamela Dare, a blond beauty who develops a crush on Thackery. Christian Roberts is Devin the leader of the group. He is a thug not use to rules and is constantly testing Thackery. Lulu is Babs Pegg and she does a credible acting job and supplies the film with its famous theme song. Michael Des Barres has a minor part as one of the students and he would go on to minor rock career and marry one of the most famous of all rock groupies Pamela Des Barres. Mr. Poitier is the glue that holds the film together and he is equally forceful and compassionate in his performance. To sir With Love is dated in some ways with regards to the fashions and slang language, but it's story is timeless

Flawlessly wonderful
This is my all-time favorite movie. The story is of a Black engineer, born in British Guyana and educated in California, who takes a job teaching at a high school in a depressed area of London. He has no teaching experience, and so develops his teaching style from his own experience. Gradually the relationship between the teacher (Poitier) and his students evolves from suspicion, to respect, to love. There is the obligatory romantic attraction between Poitier and one of his students, Judy Geeson. (Geeson, who plays this part with endearing and convincing sweetness, grew up to become the supercilious and insufferable across-the-hall neighbor from Paul Reiser and Helen Hunt in the TV sitcom "Mad About You").

Everything is perfect in this movie. If you can watch the very last scene without tears, then you are stronger than I. In retrospect, I think this movie was one of the influences which caused me to become a teacher, 17 years after I first saw it. I hope it has done the same for some others, and that it will continue to do so in the future. See it!

Heartwarming Film
Poitier is a stunning actor.

This is a heartwarming film. This is a good feel-good movie for anyone who may be feeling down!

Jeffrey C. McAndrew
author of "Our Brown-Eyed Boy"

One of Sidney Poitier's outstanding movies
This movie, based on E.R. Braithwaite's book, was one of the outstanding movies of Sidney Poitier. I am a sucker of such movies, especially as I can relate to them. I was in a difficult school during my teenage years with bad schoolmates and some good teachers set me straight, otherwise, I would have been in trouble. This movie inspired many other movies but did not do such a splendid job. The main difference was the script and the actors.

Sidney plays the part of Mark Thackerey who is an engineer who does not get a job as an engineer and decides to become a teacher as an intermediate job. In the East End school he sees how bad the standards of the students are and realizes that he is not making any difference. Finally one day he loses his cool, and then hits on an idea to change the students attitude. Gradually, the students warm up to him. Though some of the ideas might be dated (language, customs etc) for the present day, the ideas of racism, generation difference, teacher-student trust and problems are well brought out. This is still a timeless classic and for anyone who has worked with schools, teachers and problem students.

The DVD quality is excellent. Both video and sound transfer are good. Sidney is Sidney, what can I say, his quiet, dignified style of acting and the way he handles all the situations by showing his emotions is fantastic. The theme song of this movie is also special. Do not miss this movie.

A BEAUTIFUL FILM
"To Sir With Love" was a beautiful story about a black teacher, Sidney Poitier, who overcomes racial barriers to teach West London toughs and toughettes the meaning of life. It was, literally, banned in Alabama, which was ruled entirely by...the Democrat party. In 1967, Poitier again stirred the red-necks with "In the Heat of the Night", where he plays Virgil Tibbs, a competent Philadelphia cop stuck overnight in a Mississippi town. It must be 110 degrees at night. The white boys sweat like stuck pigs while Virgil is as cool as a cucumber in a Savoy Row suit. The sheriff, Rod Steiger, is discomfited by circumstances in which Tibbs is "lent" to him to solve a murder that happens to occur when he is there. In working together, layer after layer of characterization is stripped away in marvelous fashion, through the skill of director Norman Jewison (who tells everybody he is not a Jew, he is Methodist), until understanding between the two men become a metaphor for the healing of a divided America. Very good stuff.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

Amazon.com

Actress Kasi Lemmons made an auspicious debut as a writer and director with this delicately handled, wrenchingly emotional drama, hailed by critic Roger Ebert as one of the best films of 1997. Eve's Bayou begins with ominous narration: "The summer I killed my father, I was 10 years old." From that point the story moves backward in time and memory to Louisiana in 1962, when a young girl named Eve (Jurnee Smollett) witnesses a shocking act on the part of her womanizing father (Samuel L. Jackson). But what really happened? And can Eve be certain about what she saw when there is more than one interpretation of the facts? Less a mystery than a study of deeply rooted emotions rising to the surface to affect an entire family, the film has the quality of classic Southern literature, with layers of memory unfolding to reveal a carefully guarded truth. Barely seen during its theatrical release, this lushly photographed film deserves to be rediscovered on digital video disc. --Jeff Shannon ... Read more

Reviews (34)

Feel The Heat
Eve's Bayou is a spectacular movie. The color and scenery is wonderful and the people are elegant and troubled. Even the character's names stir up visions of dark swamp water and sultry heat. The story is told and seen through the eyes of little Eve Batiste played by a wonderful young actress named Jurnee Smollett. Eve takes us deep into her world which is filled with colorful characters and complex personalities.Diahann Carroll is fabulous as the old fortune teller Elzora with her insane laughter. Debbi Morgan as Aunt Mozelle Batiste Delacroix is something to behold. Aunt Mozelle has promised her family that she will not use her "second sight" to tell fortunes, but neighbors won't let her keep her promise. They seek her out to find missing husbands anyway. Lynn Whitfied as the manor born wife is beautiful and poised as she tries to keep her family together in spite of her wandering husband (Samuel L. Jackson). Jackson is very sexy in this movie and his character has roving eyes as well as roving hands that don't stop even when he is caught in a compromising position by his youngest daughter, Eve. This starts a set of events that lead to the total destruction of an already deeply troubled family.Although this movie did not make history at the box office my guess is that it will become a cult classic. Years from now this movie will be viewed for what it is, a brilliantly produced film. You can literally feel the Louisiana heat from Eve's Bayou. Vannie

A Poetic Accomplishment
This movie is moving and poetic in every sense of the word. From the acting right down to the musical score. I was astounded to learn this is a directorial debut.
Debbi Morgan is absolutely amazing in her role as the sister with the "gift of sight". She provides us with the most amazing scene in the film. In the scene, she is recalling a confrontation between her secret lover and husband. She recalls the events while looking through a mirror, and the scene is acted out as "reflections" in the mirror. This is one of the most powerful scenes I have witnessed. Now that I own the DVD, I can watch it over and over, it is that powerful.
My 2nd favorite performance is by Dianne Caroll, who plays the town voodoo witch.
The DVD has great commentary and an equally well produced short featurette.
The film is complimented by the musical score, which helps the story flow like velvet. I even bought the soundtrack for its amazing hypnotic quality.

Top 10
Eve's Bayou is one of my favorite movies starring one of my favorite young actresses, Jurnee Smollett. You may remember her from On Our Own, a sitcom with her siblings all apart of the cast. The acting is great and the whole movie is a lot different(including the setting) than the usual stuff that comes out. Samuel Jackson is the loving, but adulterous husband and Jurnee doesn't like it. When she decides he goes too far she does the unthinkable to protect her family.

Loved this movie!
Mystery, Magic, and Family what a wonderful base for a movie. I loved the setting, the characters, and the story. It left enough to the imagination to keep it believable. This movie is worth owning!

Eve's Bayou
This is one of the most beautifully written, directed, filmed & acted films of all time! Kasi Lemmons outdid herself with this smoldering family drama set in 1950's Creole Louisianna.

With a stellar cast including Sam Jackson, the incomparable Debbie Morgan, Lynn Whitfield, Diahann Carol, Megan Goode & Jurnee Smollet, this drama seethes with intensity broken by moments of levity. ... Read more

Reviews (13)

Definately one of my favorite American movies.
I think the first time I saw this movie, was an edited TV version. I usually don't watch TV because I'm annoyed by commercial interruptions. But, this film captured my interest because of how well it played out as flashbacks being put together to come to a conclusion about a murder. This is a suspenseful story with an unexpected conclusion.
Tynin, Louisiana 1944. A black non-commissioned officer was murdered. Shot to death on a roadside near a bridge, outside of a predominately black army base with only white officers. A black army officer lawyer (Howard Rollins, Jr.) comes from Washington D.C. to Louisiana to investigate the murder. No one has ever seen a black officer before and white officers only heard of the possibility that a black man could be an officer. As you can imagine, this black officer doesn't get much support from the white officers on the base.
This is a powerful film of perseverance, courage, determination, pride, and accomplishment against overwhelming odds. And the cast is fabulous. Howard Rollins, Jr. Adolph Caesar, David Alan Grier, Denzel Washington, Art Evans, David Harris, Larry Riley (as C.J. Memphis), Wings Hauser, and many other stars you know you've seen before. And it even includes Patti Labelle as Big Mary belting out some fabulous Southern Rockin' Blues.
This is my very favorite film that has Denzel Washington, although "Mississippi Masala" is a close second.

A Spellbinding Tale, Brilliantly Told
A phenomenal cast brings Charles Fuller's adaptation of his Pulitzer Prize-winning play to the big screen. Howard E. Rollins, Jr., is magnetic as the Army Captain sent to investigate the murder of a black Sergeant in Louisiana during World War II; his careful detective work uncovers the complex layers of racism (both externalized and internalized) that led up to the crime. Adolph Caesar gives a superb, Oscar-nominated performance as the (unsympathetic) victim whose story is told through a series of flashbacks. And Larry Riley, David Alan Grier, Robert Townsend, and the always-magnificent Denzel Washington register strongly in important supporting roles. Effective as both a mystery and a social commentary, this worthy nominee for the 1984 Best Picture Oscar is tightly directed by Norman Jewison.

The DVD presentation of this recent screen classic offers an excellent film-to-video transfer, featuring a sharp picture and crisp sound. The disc contains both the widescreen and fullscreen editions, and includes the original theatrical trailer. Also offered is a short but very moving 1999 documentary entitled "March to Freedom", which recounts several astonishing real-life stories of racism in the American armed forces during World War II. All-in-all, this is a highly recommended DVD that deserves a place in your home video library.

A must see
This is a must see movie. It features some of the best African-American actors and has a story line that everyone can relate to.

Excellent
I found this movie to be a beautifully done flick. I remember going to the movies with my family to go see it. I was only 6 years old when it came out, but I remembered it. It also came on TV quite a few times, so I watched it then too. I recommend this movie for everyone to see. It's very compelling.

A Soldiers Story
This is one of my favorite movies...It is about a black army officers death..It deals with racial tention and even racism within the black race..The investigation is headed up by a black high ranked officer which was very rare in those days and that causes problems too..U will see many stars Like Denzel Washington, the guy that plays Moesha's daddy, Howard E.Rollins from In the Heat of the Night, and even Patti LaBelle..This is an excellent film.. ... Read more

Reviews (23)

"I am a giant, and I'm surrounded by ants."
With perhaps the best cast ever assembled for this play, David Susskind's 1961 production of Raisin in the Sun is a classic film and a landmark achievement during the civil rights struggles of the early 1960s. Starring a young Sidney Poitier as Walter Lee, Claudia McNeil as his mother Lena Younger, Ruby Dee as his wife Ruth, and Diana Sands as his sister Beneatha, the film closely follows the script of the play, and director Daniel Petrie wisely confines the setting almost entirely to one room, as it is on stage. This intensifies the emotions and interactions of this three-generation family, which share a small, two-bedroom apartment in South Chicago, and makes their longing to break free obvious both visually and emotionally.

Sidney Poitier as Walter Lee is the "giant...surrounded by ants" as he dreams of escaping his job as a chauffeur and investing in a liquor store. Poitier's body language and subtle gestures as he argues about how to spend his mother's ten thousand dollar life insurance check powerfully convey his anguish. The close-up of Poitier's slow transition from an insolent and angry young man to a tearful and repentant son in one scene with his mother is unforgettable. Claudia McNeil, as the mother, is stalwart, strong, and full of pride. Ruby Dee, as the devoted wife, trying to decide whether to have an abortion in order to lighten her husband's load, is simultaneously resolute and resigned. Diana Sands, as Beneatha, the agnostic medical student, reflecting the beginning of the "Roots" and "Black Power" movements, provides some comic relief as she practices African "home-from-the-hunt" dances.

At the heart of the play is the issue of discrimination against black people and the limitations on their dreams, and the filming in black and white is appropriate. The small dying houseplant that Lena nurtures remains the major symbol here, as it is in the play, but through the cinematography new symbols emerge. The kitchen cupboard door opens and shuts as family members open and shut themselves to each other and the outside world, and numerous scenes take place between two people with a door in the background, opening and closing as their emotions change. The film quality and its high contrast have withstood the test of time, the sound is good, and the acting, especially as revealed in the close-ups, makes this a classic film, better than any stage version I have ever seen or imagined. Mary Whipple

Subject matter still an issue today
This film is excellent. I first saw it on television umpteen years ago and in school, and I was touched by the whole plot. An African-American family obtains a large amount of money from an insurance policy and they decide to use it to buy a home in the suburbs. But the residents of the white suburban neighborhood where this family wants to move don't want them there. And prior to that, there is contention between family members for even entertaining the thought of moving there. Powerful performances by Sidney Poitier, Claudia McNeil and Diana Sands. This is still a relevant topic today, even though this film was made 40 years ago because these things are still happening. No doubt Lorraine Hansbury, the playwright, was influenced by the very public genrification story of entertainer Nat King Cole, who faced the same kind of racial problems when he brought a house in a wealthy white neighborhood in California in 1948.

Wonderful family film. Highly recommended.

Excellent Adaptation
Beautifully acted. Heartfelt and heartbreaking. A simple story intelligently and sympathetically told. Among Poitier's best. This is a one movie example of how important and excellent Poitier was in the late 50's & 60's. One of the few must sees for every American.

The human striving for the American Dream
A Raisin In The Sun is the DVD recording of the on-screen adaptation of Lorraine Hansberry's classic stage play about black identity, starring Danny Glover and Emmy Award winner Esther Rolle. When a $10,000 insurance benefit generates dreams and squabbles in a Chicago ghetto family (the son yearns to start his own business while the mother longs to live in a house of her own), A Raisin In The Sun wonderfully captures the human striving for the American Dream and the realities confronting those who have grown up and lived their lives poor and disadvantaged. DVD extras include an about the author section, tidbits of information about the play and the cast, and more. 173 minutes, color, suitable for family viewing.

The Best of Black Cinema
This is acting at its best. Not only for African American Actorsand Actress,but for acting period. The story is based on the everyday struggles of a Black family. The story is based sometimes in the early 60ds or late 50ds but these struggles still go on today. As a black women in the struggle I related to every part of the story, not only do we get knocked down by the world as per say, but we also get knocked down by our own people.Black men try hard to find a way to take care of their families and sometimes things look better on the other side, as brother in the story does he trusts his friends because his mother trusts him and things go bad for him, but out of every thing bad comes something good, I don't want to tell the story for those who hasn't seen it, the family still go own to move on with their plans and whole their heads up high as they go on and that makes the struggle even better, as least the family still has their self worth and dignity. And as usual Momma the head of the family per say teaches them lesson and also teaches them a lesson in the lost that they experince. always keep your head up and never do anything to loose your self worth or your diginty. This is one movie that every black family shouid see. I recemmond it highley.!!!!! dean.r.m@worldnet.att.net. ... Read more

Reviews (39)

Decent (not great) presentation of drive-in classic
Of course, if you're reading this, you probably already know that "Shaft" is an above-average blaxploitation flick with Richard Roundree as a private detective hired to track down a Harlem gang boss' missing daughter. With dialogue like "You got problems, Shaft?" "Yeah, two of 'em. I was born black and I was born poor." you really can't lose.

So on with the DVD. The film itself is nicely letterboxed (I think for the first time), and while it's not made from the greatest print (there are a couple scratches), it's a perfectly acceptable presentation.

Extras include trailers for all three Shaft flicks . This is great--I wish Warner had done the same with their "Dirty Harry" DVD. (They did with the VHS version.) There's also a 1971-produced short "Making of" film and the option to view the movie in French (a surreal experience, to be sure.)

The cast and crew bios, however, are pretty meager, offering only a relatively complete portrait of Richard Roundtree. Where's Moses Gunn? Or Gordon Parks? The "Awards" option is pretty worthless as well, showing that the movie won the Oscar for "Best Original Song."

Oh, yes, and there's no commentary track with Director Parks as is described on the Amazon site. Forgivably, it's not mentioned on the DVD box, so this is probably just something that didn't pan out at the last minute.

It's still lots of fun, but not what it could have been.

A Winner!
This is the genuine original "Shaft" from 1971, with Richard Roundtree, that scored so well with inner-city (read: African-American) audiences that it spawned two sequels and created a new mini-genre, the grudgingly titled "Blaxploitation" films. As a kid living in a rural white area at the time, I missed this important and popular movie until I saw it last week in my VCR. And you know what? It's good.

Shaft is a private investigator who is hired by a local crime boss to find his beautiful, vulnerable daughter, who has been kidnapped by a rival ring from New Jersey. This is no small potatoes: a major drug war could break out between Jersey and Harlem if the problem isn't resolved soon. By the way, someone goes crashing through Shaft's very high office window in his presence, so Shaft has to bargain and barter with his only sympathetic contact in the NYPD to keep from being arrested on a murder charge. Shaft has to work on his own, under cover, without most of the advantages the police enjoy.

The performances in this film are wonderful. It shows how shamefully Hollywood has ignored black talent that actors the caliber of Moses Gunn didn't get steady work, and the situation is only marginally better today. The talent brings conviction to a gangster plot line that is really just an update of 1930s material, minimizing its formulaic quality and keeping it fresh. There are also sharp points made about the realities of urban black life. Example: A taxicab pauses, then zooms by well-dressed Shaft, only to stop 50 feet up the street to pick up a similarly dressed white guy. It's stuff like this that raises "Shaft" well above the movie-of-the-week level that infects so many routine and direct-to-video films.

I think that time may have actually improved "Shaft." The violence is just violence. Shooting a gun is just that, not an invitation to buckets of blood. A car crash is a car crash, not a fireball. One thing the writers or producers seem a little conflicted about is the level of swearing: a character will say "[bad]" in one sentence, use the s-word in the next, then revert to "[bad]" Ditto those well-worn terms about fornication. Well, 1971 was a confusing time.

For a generation raised on Joe Fridays, Shaft is quite an interesting character, a handsome leather-clad James Bond without all the high-tech gadgetry. He has a nice apartment and a loving wife, but he also keeps a sleek, tasteful bachelor pad that Hugh Hefner might envy. He must be quite the successful P.I.! I suppose this bit of fantasy was meant to serve as relief to the gritty urban drama played out on the streets. At any rate, I didn't mind it. If you're sitting on the fence about this movie, buy the tape; it's quite cheap.

The original
Gordon Parks created a sensation in Shaft with an ultracool performance by Richard Roundtree who went onto to do several films in this series. However none holds up as well as does the first film, which plays just as well today as it did in the 70's. Shaft was the quintessential rogue cop, taking orders from no one and tracking down the crooks no matter where they hid in the city. But what really makes this movie work is the feel Parks has for New York, capturing the quality of the inner city like few others have been able to do. One is carried along on the hip soundtrack by Isaac Hayes, taking in the mean streets of Harlem as Shaft fights both the corrupt police force and the underworld. Always one to do it his own way.

The mob wanted Harlem back. They got shaft...up to here.
That title is the films original tagline...and they got the shaft allright!

Shaft is a great 70's urban classic. The film is beautifully photographed and staged. The atmospheric camera work captures the streets of New York, always keeping the look of the film harsh and cold. The color scheme is typical 70's muted with acidic contrasts, but at the same time uses a number of blue tinges, especially in the outdoors, to suggest the cold environment the people are facing.

The DVD is presented in the film's original 1.85:1 theatrical aspect ratio as well as an open matte (fullscreen) transfer that adds some picture information at the top and the bottom of the screen. The transfers look pretty darned good for a 1971 flick. Audio is presented in the film's original monaural track and is fairly weak, though acceptable.

The DVD features includes a bonus documentary "Filming Shaft on Location", three trailers and cast biographies.

You gotta love Shaft & Richard Rountree. A great flick and a great DVD.

THE BEST OF THE BLAXPLOITATION FILMS
PERHAPS THE BEST BLAXPLOITATION FILM OF THEM ALL. JOHN SHAFT [RICHARD ROUNDTREE] IS HIRED TO INVESTIGATE THE KIDNAPPING OF A GANG LORD'S DAUGHTER. VERY INTERESTING MOVIE WIH LOTS OF GREAT MUSIC. THE FILM ALSO HAS A SHARP SENSE OF HUMOR. FOR A FUN TIME, CHECK OUT THIS CLASSIC 1971 ACTIONER. ISSAC HAYES WON AN OSCAR FOR THE SHAFT THEME SONG. FOLLOWED BY TWO SEQUELS, A TV SERIES, AND WAS REMADE [SORT OF] IN 2000. ... Read more

Reviews (71)

A POWERFUL AND INFLUENTIAL MOVIE.
"Boyz 'N The Hood" is one of those movies that will touch you because of its realism and message. Also, it was a very influential movie, after this film appeared, a lot of similar movies came in; John Singleton directed a powerful film like if he was Spike Lee.

"Boyz 'N The Hood" tells the story of three black kids growing up in a dangerous neighborhood: Tre, Ricky and Doughboy; each one of the three kids is very different from the other, but they love and respect each other. The second part of the movie shows the kids now as teenagers: Tre (Cuba Gooding Jr.) and Ricky (Morris Chestnut) about to graduate from high school, and Doughboy (Ice Cube) as a trouble teen with gangster attitude. Tre is being educated by his father (Laurence Fishburne), Ricky is about to get chosen by a college due to his football abilities, and Doughboy along with other friends is about to choose the path of a gangster. But a tragedy will interrupt the life of one of this boys, and the rest must choose: get revenge and ruin their lives or go on with their lives.

The realism of "Boyz 'N The Hood" may be its best quality, all the performances are very good, with young talents that later would be famous. Once in a while is good to see this kind of movie, don't limit yourself to popcorn movies. Go see "Boyz 'N The Hood".

One of the Most Powerful Films Ever.
Boyz N the Hood was and still is one of the most powerful movies I've ever seen. Shot entirely in South Central LA to present the movie as realistic as possible. The movie debuted in theater back in 1991 and had an immediate impact on almost everyone who viewed it.

The story about 3 friends growing up in the hood in South Central LA. Each one with their own individual struggle and goals in life. Doughboy (Ice Cube) ,who is a drug dealer, has been in and out of trouble throughout his young life and seems to be happy with his surroundings. Doughboy's brother Ricky (Morris Chestnut) a teenage father with bright hopes and aspirations of becoming an NFL football player ; and Ricky's best friend Tre (Cuba Gooding Jr.) who hopes and dreams of higher education and an escape from the dwelling of the hood. "The Hood" where saying the wrong thing or looking at someone the wrong way can end in death. Tre's father (Larry Fishburne) is a responsible, educated and strict father who makes sure his son stays on the right track in achieving his goals in life. Teaching him about responsibility and keeping your cool in adverse situations in order to make a thoughtful descision. Tre's resolve will be tested when tragedy strikes close to home and revenge and murder seem like the only solution.

Fantastic direction by John Singleton and equally impressive acting by all characters are the reason Boyz N the Hood was such a huge success. It was nominated for two acedemy awards (Direction and Screenplay.) ... You have to see this one for yourself you won't be sorry.

How to Survive in South Central.
South Central L.A.: Where murder rates are five times the nationwide average, or in absolute figures, double the entire U.S.'s death rate for breast cancer (L.A. Times, January 1, 2004.) Where "I'll have my brother shoot you" isn't just an empty threat, and guns are passed from one sibling to another when an older brother goes away to "do time." Where owning a gun is a means of self-protection even for those who've always stayed clear of gangs. Where "where ya' from?" is an inquiry about gang membership, not geographic origin, and wearing the wrong colors can cause you to be "hit up;" resulting in violence, and more violence by way of retaliation. Where over the past 15 years the LAPD has accumulated a backlog of 4,400 unsolved homicides - roughly 3/4 of the city's total - because, as kids learn early, a bullet doesn't come with a name attached; and those who know the killer generally stay mum, either fearing reprisal or preferring to take care of their own, rather than leave justice to a police and a court system they've learned to mistrust anyway. And where crimes like burglary only merit police attention if something actually was stolen, and are quickly sidelined upon the officers' summons to another murder scene.

South Central L.A. is the home of Tre Styles (Cuba Gooding Jr.) and his friends, "Doughboy" and Ricky Baker (Ice Cube and Morris Chestnut). We first meet them at age ten, when Tre's mother (Angela Bassett) sends him to live with his father Jason, a/k/a "Furious" (Laurence Fishburne), who seems better equipped to raise a son in a neighborhood like this. When we see them again they're seventeen, Tre and Ricky about to graduate from high school, while Doughboy has already graduated - from shoplifting to guns and small-time drug deals. And while Furious guides Tre towards moral choices, responsibility and (self-)respect, Doughboy and Ricky are raised by a mother who lacks the wherewithal to steer them out of the ghetto. Yet, Ricky in particular is naively, fiercely resolved to make it out of there; with a football scholarship (provided his SAT scores are high enough) or if that fails, by joining the army. And in a poignant, spot-on conclusion it is ultimately Ricky who forces Tre and Doughboy to choose their own paths in life, to either be drawn into the ghetto's spiral of violence, or conquer their inner demons and extricate themselves from that vicious circle.

Upon this movie's 1991 release, several Los Angeles cinemas either refused to show it at all or hired extra security guards: That big, in a city that had recently seen the Rodney King beating, was about to be rocked by the Christopher Commission's scathing indictment of its police department, and was gearing up to the riots that would ravage its inner city the following spring, were fears of the reaction to John Singleton's partly autobiographical film. Yet, while "Boyz N the Hood" paints a starkly accurate picture of inner city life's daily realities, it in no way encourages violence - much to the contrary. That it's told from a profoundly "black" perspective is a given; and with that come charges that those of us with a more fortunate childhood often dismiss as the chip on many black people's shoulders (e.g. the notion that drugs, liquor and guns in the ghetto are tacitly encouraged by society's white-dominated ruling circles to keep inner-city minorities subdued). But while neither such charges nor their "white" response are the be-all and end-all of the problem, there is no question that drugs, alcoholism and guns are major issues in the 'hood, as are teen pregnancies and unemployment; and Singleton intelligently weaves all of these elements into a compelling picture.

Equally well-deserved as the praise for Singleton, who garnered Best Director and Best Screenplay Oscar nominations and several other distinctions, are the kudos to the movie's outstanding actors. Then-23-year-old Cuba Gooding Jr. came practically out of nowhere to give a fully accomplished, emphatic portrayal as Tre, caught between the lessons of ghetto life and those of his father. (Although this wasn't his first movie, he had never before appeared in a remotely as prominent role.) Morris Chestnut's naively determined football-hero-to-be Ricky is similarly compelling; and Laurence Fishburne noticeably didn't have to reach far for his "Furious" Styles: While based on Singleton's father, the role was created specifically with him in mind. So, reportedly, was Ice Cube's Doughboy; and he, too, is a perfect match, giving the teenage trio's most troubled member a depth clearly informed by his own South Central boyhood (although despite his songs' inflammatory lyrics, he himself stayed clear of gangs). Angela Bassett finally is the perfect foil for the movie's male characters, exemplifying a woman who through hard work gets as far out of the ghetto as conceivable and unlike her ex-husband doesn't avoid the moneyed upper-crust, but doesn't forget her origins, either (and is still perfectly capable of talking tough when challenged).

The movie's last words are Ice Cube's, both spoken as Doughboy and rapped in "How to Survive in South Central," underlying the closing credits. "Either they don't know, don't show or don't care what's going on [here]," Doughboy comments on a TV program about exotic faraway places he's seen shortly after experiencing the kind of violence that he knows will haunt him forever. And in his rap song, sarcastically premised on a guided tour to the "concrete Vietnam" South Central L.A. ("Have you witnessed a drive-by? Okay, make sure you have your camcorder ready!"), Ice Cube warns: "Rule number one: get yourself a gun ... 'cause jackers ... love to start [things]. Now, if you're white you can trust the police; but if you're black they ain't nothin but beasts. ... So don't take your life for granted, 'cause it's the craziest place on the planet ... This is Los Angeles." - "Boyz N the Hood" was released 13 years ago. It is as topical as ever.

Remarkable Film From First-Time Director.
An exemplary directorial debut from John Singleton, who managed to create an American classic with his first effort.

As we follow Tre Styles from childhood toward becoming a young adult (as played effectively by Cuba Gooding, Jr.), and attempting to dodge, with the cautious guidance of his parents, the many dangers and risks associated with growing up in inner-city America, the sense of ever-present danger and, often, hopelessness associated with attempting to avoid falling into the cracks of society is abundantly clear.

In the role of Tre's troubled friend Dough Boy, Ice Cube is something of a revelation, and his balanced performance, alongside Singleton's excellent script, prevent him from becoming merely another gangster caricature. Lawrence Fishburne and Morris Chestnut add further depth to a strong cast.

All in all a very real, gritty depiction of the challenges faced at every turn by African American men and women in modern America. The building anger bristling beneath the surface in so many scenes is particularly resonant given the outburst of violence in the Rodney King Riots that took place in the very same city of the story just one year later.

The film spawned several 'urban gang flick' imitations in subsequent years, but most glorified violence and placed an emphasis on a loud soundtrack and sexual explicitness at the expense of strong plot-line, good character development and a serious social message. All three are to be found in Boyz N the Hood.

One of the best
This movie really is one of the best movies ever infact I would call it the black GODFATHER wich is a very good thing to say it is just an excellent movie one of my favorite movies ever
Story 10 Acting 10 Direction 10 Action 10 Entertainment 10
Overall=50/50 This a perfect movie and a greatly directed movie with excellent performances by Cuba Gooding JR.-Laurence Fishburne and Ice Cube as Dough Boy I want to buy this one ... Read more

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Cheryl Dunye has transcended the usual pitfalls that pockmark most lesbian-themed movies: specifically, the usual angst and suffering that occur when the gay gal falls for a heterosexual friend. The Watermelon Woman is more a cultural document, addressing speculative sociological gayhistory themes with an interesting and engaging cover story about a video store clerk named Cheryl (played by Dunye) who, in her research for a movie, comesacross an old-time black actress simply called "the watermelon woman" andbecomes obsessed with her persona. In the process, Cheryl finds herselfembroiled in a relationship that parallels that of her icon.

What makes The Watermelon Woman special is its layered story line and its willingness to present its characters as comically flawed. Dunye also creates an aura of mystique around the enigmatic watermelon woman, and her life and tribulations become fascinating to the viewer. Even Camille Pagliashows up to make commentary about the "actress," and while thestory-within-a-story concept is tricky, the power and purpose of the movie emerges, and the character becomes as fascinating as if she were flesh and blood. --Paula Nechak ... Read more

Reviews (11)

Widening the Spectrum: Multiple Issues, Multiple Minorities
As a lesbian film student of color, I find inspiration in Cheryl Dunye's vision. "The Watermelon Woman" seamlessly weaves together the issues of race relations, ethnic and lesbian identity construction, and prevailing oppression in all its subtleties. Setting up the film as a pseudo-documentary of an aspiring filmmaker's research on a Black lesbian actor from the thirties counterpoints a historical context of these issues, with its modern manifestations. An excellent film from a multiple-minority perspective. The acting may call for more training, but the successful execution of the issues excuses the sometimes contrived reading of lines. The portrayal of Guin Turner's naively ignorant character (a white woman who prefers men and women of African-descent) was well written and played. The film illustrated race relations on many sides of the issue -- the relations between people of the same race and cross-racial relations. Funny, as well as socially valuable, "The Watermelon Woman" is one of those rare films that reaffirm my expectations for film: not just as a form of entertainment or art, but as a tool for social commentary.

Excellent portrayal of the artistic process...
This movie is the story of a woman that wishes to become a film-maker. She becomes obsessed with an actress from the 30's - and begins searching for information on her, and films a documentary in the process. Soon, the lead's love life begins paralleling the actress that she is researching.

This film can be viewed on several levels... as a (lesbian) love story... a romantic comedy, if you will. It can be viewed as a story about African American women finding their place in an urban society. Or it can be viewed as a study of the creative process.

The love story bored me (luckily both Cheryl Dunye and Guineviere Turner are both really hot!)... but the exploration and struggle of the artistic journeys of Cheryl was very interesting. Any film-maker, artist, photographer, etc. would enjoy this movie... and it should not be dismissed as another silly, unrealistic lesbian love story.

you just don't want to part with this film..
Was it Jamaica Kincaid who said that there are books you just can't part with? That you just have to take them with you after you read them at, for instance, a library? (Well, whoever it was, was she justifying book thefts? I like to think so, for I understand such a quick and strong 'attraction' to certain books myself. There really are books that you can't part with.)

The minute The Watermelon Woman played on the screen, I felt that can't-part-with-this kind of instant affection toward it. It was funny, honest, and cool. I collect DVDs and this one surely made the top on my list for future purchase. I'm almost grateful to the school I attend that its library has it in its collection. I had an absolutely good time watching it.

Insightful Examination of Black Lesbian Indentity
The best films inform and enlighten as well as entertain. Cheryl Dunye's debut feature, WATERMELON WOMAN does just that. It takes the viewer on a fascinating journey into one black woman's life as she searches for a lesbian role model. She finds her in the form of a mysterious figure known only as the "Watermelon Woman." Utilizing a light-hearted, documentary style approach, Dunye (who also stars in the film) has crafted an intelligent and entertaining film that will resonate with many viewers, irrespective of one's sexual orientation.

Unlike other films dealing with gay characters or themes, WATERMELON WOMAN is not pretentious or preachy. Instead, it tells a simple story which touches upon universal themes such as searching for one's place in the world. Dunye, while not a polished actress, is nonetheless appealing in her lead role. Her character possesses a youthful charm that makes you really care about her journey. The other members of the cast are also appealing.

Adventurous filmgoers tired of formulaic plots will find much to savor in this film. Aspiring filmmakers can also look at the film as a guide in how to create a compelling story on a modest budget. Being one of the few people to actually see the film during it's brief theatrical run, I was happy to learn that I could see it again in the convenience of my own home. Now a much wider audience can enjoy this special film. Check it out.

On another note, her next film, STRANGER INSIDE, is slated to premiere this year on HBO. Hopefully, that film will live up to, if not surpass the promise of Dunye's earlier film. Only time will tell.

A Trip Out Film!
This Film is very Creative&Eye-Opening.it Shows The World&Lives of Lesbian Women.it deals with Race,Sex&Class Issues.i happen to catch it on B.E.T Starz's&it kept my attention.it showed the flaws of The Women&everyday struggles&Battles they went thru.I wish HBO,Showtime,etc...would also show this film for a wider audience.because this Film Balance's out alot of things.it's a trip out film! ... Read more

Reviews (94)

A brilliant, scorching movie
Spike Lee takes us to a single block in Brooklyn on the hottest day of the year in his awesomely brilliant movie "Do The Right Thing". The movie opens on a sultry early morning; by the time it ends, on a sweltering midnight of the same day, the heat, and the movie, have built up unbearable tensions that explode in in a confrontation that engulfs the street and everyone in it. At the heart of the block and the movie is Sal's Famous Pizzeria, run by Sal and his two sons from Bensonhurst (also in Brooklyn but it might as well be on the other side of the planet), with its "Wall of Fame" covered with photographs of famous Italian-Americans, glaringly out of place and insultingly insensitive on this African-American street in Bedford-Stuyvesant. The movie presents us with an unforgettable set of characters, including Danny Aiello in a great performance as Sal, Spike Lee as Mookie, his delivery man, Rosie Perez as Mookie's long-suffering and neglected girlfriend, Giancarlo Esposito as Mookie's radical friend Buggin' Out, Bill Nunn as Radio Raheem with his suitcase-size boom box that eats up 20 D batteries at a clip, the nearly legendary husband-wife acting team of Ossie Davis and Ruby Lee as Da Mayor, the street bum, and Mother Sister, the neighborhood snoop (every neighborhood has to have one), Samuel L. Jackson as Senor Love Daddy, and Joie Lee, Spike Lee's real-life sister, who plays Mookie's sister Jade in the film. Among a host of minor characters, the best are the three men parked on the sidewalk, ML, played by Paul Benjamin, Coconut Sid, played by Frankie Faison, and Sweet Dick Willie, played by the late Robin Harris, who act as a kind of Greek chorus to the unfolding events. Much of the speaking parts of these three was ad-libbed on camera, and the actors seem to have had a ball with their characterizations (Buggin' Out: "You wanna boycott Sal's Famous Pizzeria?" Sweet Dick Willie, observing Buggin' Out's every-which-way haircut: "You oughta boycott that barber who f---ed up your head.") Always present, and intrusive, are a squad car with two white cops, who view the neighborhood inhabitants, and are viewed by them, with undisguised contempt. The street, and the environs, are so convincingly portrayed that the heat is palpable; we can almost feel their discomfort as we sympathize at their attempts to alleviate it. One of the most priceless scenes in the film is the loudmouthed "alien" who drives through the block in an open Cadillac convertible and dares the kids to get it wet (when he finally manages to pull over and open the door, Niagara Falls spills out). A demand by Buggin' Out that Sal put some photographs of blacks on the Wall of Fame, which Sal dismisses out of hand, sets the stage for the confrontation that will blow sky-high. Buggin' Out returns to the pizzeria just before closing time with Radio Raheem, boom box blasting away at full volume, and Sal, his last nerve shot, silences the noise with a baseball bat. The resulting free-for-all spills out into the street just as the police arrive; Radio Raheem is pulled off Sal, who he is choking silly, and killed by the police with an illegal choke-hold. The police speed off (one could say they fled the scene of their crime), leaving Sal and his sons alone to face the neighborhood's rage. The pizzeria is torched, the neighborhood riots, and the firetruck arrives with firehoses turned on the rioters instead of the pizzeria, in a scene reminiscent of Sheriff Bull Connor in 1960's Alabama. "Do The Right Thing" is one of the most searing commentaries on American race relations that has ever been put on film. It's provocative, it's insightful, it's profound, it's a masterpiece, and it's definitely Spike Lee's best movie.

Do the Right Thing Review
It's the hottest day of the summer and racial tensions run deep in the Bed-Stuy section of Brooklyn, New York. This is the backdrop for Spike Lee's controversial 1989 film, "Do The Right Thing". Many critics and movie-goers were quick to blast this film for being what they perceived to be a "racist" movie. Most people who say this have probably only seen the movie once and were so quick to complain about its tension-filled ending.

"Right Thing" stars writer-director Lee as Mookie, a somewhat lazy pizza delivery boy who works at the local pizzeria run by Sal and his Italian-American sons. Through Mookie's many trips through the neighborhood, we get acquainted with some of the other "characters" such as the block's "wise man" (or "town drunk", depending on how you perceive him), "Da Mayor" (Ossie Davis). We also get introduced to the trouble-making Buggin' It Out who is intent on boycotting Sal's Famous until they "put some brothas on the wall". Then, there's Radio Raheem, whose boombox blasts Public Enemy's "Fight The Power" loudly through out the movie. He doesn't speak much as the music seems to be his outlet of expression. It also happens to get him in a lot of trouble as the movie progresses.

Lee's treatmant of certain characters in "Right Thing" is questionable at times. He seems to feel strongly that many of the white characters in this New York neighborhood would root for Boston sports teams because their top players are also white. At times, Danny Aiello's Sal seems sympathetic and kind while in the end, he is more or less portrayed as a "closet racist". This might be why some of us are so fast to make observations about the film's racial biases but I've never felt that "Do The Right Thing" has ever been about who is right and who is wrong. In the end, everyone loses out because rather than go about handling certain small problems by compromising, people choose to argue over who is "doing the right thing" and who isn't. In the end, people are hurt and killed, property is destroyed, and all that seems to remain is animosity.

While I may argue with the way that Spike wrote certain characters, this is "his" movie. Would the ending situation have been any different if he had re-wrote them? Probably not. So many of its critics fail to see the big picture with "Do The Right Thing". It isn't about whether Sal was right or whether Mookie was right or Buggin' It Out. The original problem was so small, so minor, and each of the characters allowed it to balloon into a big one. Even the less important characters contributed to the problem by instigating it further. The only character who seemed to understand what was going on was Samuel L. Jackson's almost narrator-like radio DJ, Senor Love Daddy. He understands it, he sees the tension esculating, and he is telling everyone to relax but it's too late. "And that's the triple truth, Ruth".

"The left hand is hate. The right hand is love."
This movie is largely an angry, outrageous film. But it is also a beautiful and enlightening one. DO THE RIGHT THING garnered Spike Lee, writer, director, and star of the film, both praise and criticism. But what you must remember, those who either praise it or look down upon it, is that DO THE RIGHT THING couldn't be further from the truth.

DO THE RIGHT THING was an introduction to Lee's brazen and bold style of filmmaking. He had a part in every aspect: direction, cast, production, writing the screenplay, etc. That's why, if someone is interested in seeing a "Spike Lee joint", I will definitely recommend DO THE RIGHT THING first and foremost.

It's a look at race relations in America circa 1989, a drastic glimpse in which the outsiders, meaning the audience, can feel as if they are right there in Harlem with Mookie (Spike Lee).

Mookie is an unmarried father, a boyfriend to Tina (Rosie Perez), loud and outspoken with her buxom figure. She pushes Mookie to spend more time with her and their son, complaining about him being a deadbeat dad. His excuse? Work.

True, much of Mookie's time is spent working at Sal's, a pizzeria in Harlem, run by white Italians in a neighborhood where the population appears to be around 99.5 percent black.

Other characters include Radio Raheem (Bill Nunn), Da Mayor (Ossie Davis), Mother Sister (Ruby Dee), Buggin' Out (Giancarlo Esposito) and Jade, Mookie's sister (Joie Lee). Radio Raheem's dialogue throughout the film it limited - he more or less expresses his freedom through his incessantly blaring radio. In fact, throughout the entire movie, Public Enemy's "FIGHT THE POWER" blasts throughout the neighborhood. Buggin' Out is irked with a situation at Sal's that he feels must immediately be taken care of. He just wants Sal to "put some brothas" up on his restaurant's walls, right beside pics of Frank Sinatra and Clark Gable. Sal (Danny Aiello) refuses to comply with Buggin' Out's request.

In the end, Radio Raheem and Buggin' Out fuel an argument that quickly evolves into a neighborhoodwide conflagration. Alas, Mookie fuels the fire by hurling a trashcan through the glass window of the pizzeria - his boss' pizzeria - and the brawl proceeds, with Sal and his sons standing on the sidelines.

DO THE RIGHT THING is an odd title for a film like this, some people may think. Is the right thing done? Does Lee believe that the characters in his film