Just Like The Rest Of Us, by Tyler Smith

IN THE HEAT OF THE NIGHT (1967)
Directed by: Norman Jewison
Written by: Stirling Silliphant
Starring: Rod Steiger, Sidney Poitier, Warren Oates

There have been a lot of movies about prejudice, some good (Crash), others not so much (Remember The Titans), but one of the best is Norman Jewison’s In the Heat of the Night. What’s interesting is that, whenever great movies are discussed, this film is seldom mentioned, which is especially odd, considering that it won both Best Picture and Actor that year.

Perhaps people lump it together with Guess Who’s Coming to Dinner, which also starred Sidney Poitier and also featured themes of racial tension. Over the years, that film has developed the reputation of being groundbreaking, but not really all that good. For the most part, I would have to agree with that assessment.

In the Heat of the Night, however, does not deserve to be thought of in this way, though. Its views on prejudice, both racial and otherwise, have not aged a bit. In a time when people marvel at the concept of across-the-board prejudice that Crash featured (which is a theme that I feel must always be acknowledged), this film has lost none of its relevance.

Our story begins with the murder of a millionaire entrepreneur in a small Mississippi town. As the local police, led by Chief Gillespie, fumble for clues, they stumble upon a well-dressed black man named Virgil sitting alone in the train depot. Naturally, this must be the culprit, and they treat him about how one would expect in a Mississippi town in the 60s.

Soon, though, we discover that the man is a cop from up north. Much to his and Gillespie’s dismay, Virgil is instructed to stay in town and assist them in their investigation. The two men warily begin to work together, piecing together bits of the puzzle, while also confronting their own prejudices.

The interaction between these two men is engrossing. Just when one feels that they are making progress- starting to respect each other- something happens and they go right back to square one. It is frustrating. However, in that frustration, I feel that the film is truthful. Unlike in Remember the Titans, where the characters are able to throw off their deep-seated prejudices in the course of one extended montage, the people in this town have to actively fight against their racist instincts for any progress to be made. Needless to say, most of them don’t. And even those that do also find their old attitudes cropping up again. Racism and prejudice aren’t something that go away easily; it is a long process.

The murder case is interesting, but not nearly as much as the character development of these two men. Gillespie (played with zeal by Rod Steiger) isn’t quite as simple as one would assume. Redneck though he may seem, we soon realize that he is probably the most forward-thinking official in the town. Gillespie is faced with having to lead a police force without any real support from the townspeople. One feels a tremendous amount of sympathy for this man, who has to try to solve the case, with the help of a black man, all while the decidedly racist local bureaucrats are looking over his shoulder. Steiger’s performance here is fascinating to watch. At the beginning of the film, we think we’ve got this guy all figured out, but, little by little, we get a full picture of a lonely man trying to do his job as best he can, even if it means losing it.

As for Virgil, his arc is also intriguing to watch. As Virgil works through the list of suspects, he soon discovers that prejudice comes in all shapes and sizes. He comes upon a wealthy businessman whose views on race are very- shall we say- old fashioned. This man is a prime suspect, but is soon found to be innocent. But Virgil will not give it up. He is sure that this man did it, in spite of all the evidence to the contrary. This man must have done it; he’s too much of a bastard to be innocent. Interestingly, it takes a line from Gillespie to make Virgil see the truth.

You’re just like the rest of us.

And indeed he is. Virgil has spent the entire film feeling superior to these country bumpkins. However, now, he sees that he judged a man, not on the facts, but because of prior personal feelings and agendas.

In other words, he was prejudiced against this man.

By the end of the film, both Virgil and Gillespie are a little wiser. As they part ways, no hugs are exchanged, no profound goodbye speeches. Just a mutual respect for the other’s plight, which is always a good foundation for progress.