
San Francisco Police Lieutenant Virgil Tibbs is called in to investigate when a liberal street preacher and political candidate is accused of murdering a prostitute. Tibbs is also battling domestic woes, including a frustrated wife and a rebellious adolescent son.... (Full plot summary below)
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San Francisco Police Lieutenant Virgil Tibbs is called in to investigate when a liberal street preacher and political candidate is accused of murdering a prostitute. Tibbs is also battling domestic woes, including a frustrated wife and a rebellious adolescent son.
Leave your thoughts about They Call Me Mister Tibbs!.
| User ReviewSk SA wonderful film following on from 'In the heat of the Night' Poitier continues to get one upmanship on the bigots he keeps coming up against and his one liners are choice. |
| User ReviewAlan WThis is a good movie How can Flixster be so stupid as to not know who is starring in this picture, when the names are right on the poster? |
| User ReviewDaniel BA contemporary classic indeed. This the first of the Sideny Poitier classics I've seen so far, and I was glad this was the first. Sidney Poitier along with Martin Landau in the supporting role is really what makes this film so memorable. |
| User Reviewjenny wwell acted as usual from Poitier what a lovely man |
| User Reviewnoel rwicked sidney classic him on form must see |
| User ReviewJennifer Wwell acted as usual from Poitier what a lovely man |
| User ReviewMereie dPerhaps not as impressive as âIn the Heat of the Nightâ? (1967), but equally entertaining as a textbook example of an early seventiesâ(TM) American crime movie with a touch of blaxploitation to it â" which is typical, considering the fact that âShaftâ? (one of the classic kick-off movies of the aforementioned genre) was not to be released until a year later, in 1971. âThey Call Me MISTER Tibbs!â? also seems to be ahead of its time in its social approach, which is more common in movies from the later seventies. One of the suspects is a priest (Logan Sharpe, played by Martin Landau) with more than one mission: not only does he want to spread the gospel, but also he has (left-wing) political ambitions. True, he slept with the victim, but hell ... heâ(TM)s only human, just like the rest of us, is what the director seems to be saying here (knowing the ending of the film and the priestâ(TM)s cold-blooded lying to boot, one is inclined to conclude he is not such an amiable guy after all â" this I consider to be a flaw in the plot â" plus the fact that his motives are only very briefly touched upon). The other social element is of course Virgil Tibbâ(TM)s (Sidney Poitier) trouble at the home front, notably with his adolescent son. These domestic scenes (which are dosed very well throughout the movie: they are on the verge of taking up too much time, but remain just below that limit of overpresence) show us that Tibbs might be a great detective, but also occasionally an inadequate father, which makes him only human too. I had most of my fun with this production during the action scenes (the opening scene with the murder is wonderfully filmed with the light effects and all) and the scenes with stereoptypical shady characters like the creepy landlord Rice Weedon (Anthony Zerbe) and the sanctimonious Woody Garfield (with his bitchy wife). Always a pleasure to get a good view of San Franscisco when the cops are chasing one of the bad guys, especially when accompanied by that super cool music (by Quincy Jones) that permeates the entire film anyway. This film may be mediocre in its kind, but I find it a little treat. |
| User ReviewJesse FThis is my pick for an old movie to watch on a weekend night (or pre-Thanksgiving night, in my case). Sidney Poitier's "Detective Tibbs" is the impossible moral exemplar in a dark world unsure whether progressive politics can help urban communities out of the sad cycle pimps, drugs, and moral decay. I love the end scene when his family comes out in perfect Kennedy dress to escort him home to dinner. |
| User ReviewCassandra MWith its kipper ties, flared trousers and proficient - yet dated - music, They Call Me MISTER Tibbs! is perhaps the Poitier film that has aged least gracefully. While its prequel, In The Heat of the Night, was borne from the epitome of cool that was the sixties, here the seventies nurtured this film, which lends it a kitsch value, as well as the air of a t.v. movie. Though these elements - such as seeing the funky theme start up to the tune of Sidney clocking someone with a telephone, or Ed Asner (tv's Lou Grant) "drive" a car to a filmed backdrop - make it endearing and a must-see for a light-hearted Saturday night. A world away from the usual Sidney vehicle we have here a trawl through San Francisco's red light districts, to which the family elements - though the most critically attacked - actually provide effective light. Also unusual is the amount of sexual tone Sidney is here allowed to display. Yet whereas in the former film Poitier was the big town Lieutenant working in small-town Mississippi, here he is on his own territory, thus shaving the film of one of its dimensions. Without Steiger to bounce off, what depth the script provides his character second time around comes from his wife and children, most notably his son. After slapping the boy into submission, Poitier hugs him, mourning the fact that "you're not perfect . and I can't forgive you." Not a perfectly-formed film by any means, this one does improve on repeated viewing, and the majority of ill feeling does seem to be down to disappointment. After all, how does one make a sequel to a movie that's hailed as a classic? |
| User ReviewRichard SExcellent Quincy Jones soundtrack, with Poitier leading by example with his cool and intelligent persona. |