A murder occurs in a small Southern town. The local cops do what often probably occurred during this era--they picked up a black man (Sidney Poitier) and assume he did it! However, it turns out that this black stranger is no ordinary man but a Philadelphia cop on vacation in Mississippi. And, not only is he a cop but he's an expert on homicide investigations--and this small town is ill-prepared to deal with a murder investigation. So, after treating Poitier like dirt, the town's sheriff (Rod Steiger) is in an awkward position--he needs to treat Poitier with an unaccustomed level of respect--and beg him to help with solving this crime. Not surprisingly, Poitier is hesitant--after all, the cops are prejudiced creeps and the town seems to be filled with folks who are even worse.

Nowadays, some people might assume that films like "In The Heat Of The Night" are just about racial prejudice. However, to see it only as a race film does the movie an injustice, as it's much, much more. Not only is the acting exceptional, but the movie is a great film on police forensics. As far as I remember, it's about the earliest film to talk about and show forensic work that we pretty much take for granted today due to shows like "CSI", "Law & Order" and "Bones". Here in this film, we see an examination of a corpse and words like 'lividity' and 'rigor mortis' bandied about...as well as showing genuinely modern detective work. It is indeed groundbreaking and fascinating in many ways.

I have a few assorted observations about this film: When Tibbs talking to Endicott, it sounds a lot like Vincent D'Onofrio from "Law and Order, Criminal Intent". I wonder how much this movie later influenced the show.

The climate/time of year is VERY consistent throughout the film. It's supposed to be summer, yet in some scenes Steiger's uniform is long-sleeved and he's wearing a jacket! The trees in distance are orange-yellow because it's fall--yet in other scenes it does appear to be summer--the trees are green and Steiger is wearing short-sleeves! This is the biggest reason I gave this movie a 9 and not a 10--this is sloppy and a 10 would seem to indicate perfection.

In the film, they never say 'abortion' but that's clearly what they are talking about near the end of the movie.

There is a real Sparta, Mississippi but it is much different from the town in the film. I am sure this caused some confusion.

The Ray Charles tunes are great and work well with the film.

'In the Heat of the Night' was the winner of five Oscars with Norman Jewison for Best Director and the sound editing also receiving nominations, all richly deserved, especially the Best Picture and Best Actor.

Although the Best Picture was a strong one, apart from 'Doctor Doolittle', 'In the Heat of the Night' this reviewer finds the best of the five and also one of the greatest films of the 60s.

Visually, 'In the Heat of the Night' is an incredibly well-made film with cinematography that's both beautiful and gritty. It is immaculately directed also by Norman Jewison, who directed several other great films, and film and sound editing are also very good, fluid with a suitable unpleasantness which suits the atmosphere well and thrillingly authentic. Quincy Jones' soundtrack at least fits and evokes some good atmosphere, the title song sung by Ray Charles is a classic.

The script is incredibly thought-provoking with the racial tension tensely and vividly drawn, never resorting to heavy-handedness or talking at you, something that films with heavy subjects don't always achieve. The "they call me Mr Tibbs" line is iconic. The story is a gripping powerhouse and very ahead of and daring for its time with tremendous power, edge and emotion.

Characters are compelling, and the acting couldn't have been better. Rod Steiger has never been better as the bigoted police chief, and Sidney Poitier matches him every step of the way in a subtler and no less powerful performance. Warren Oates and Anthony James stand out in the uniformly strong supporting cast.

Overall, fantastic film and one of the greatest films of its decade. 10/10 Bethany Cox

In order to understand what's happening in In the Heat of the Night you have to realize that it is set in a very specific time period. The Civil Rights Act had been passed in 1964 and the Voting Rights Act was passed in 1965. But the impact of those laws was only beginning to be felt.

Especially the Voting Rights Act. The town of Sparta, Mississippi where William Schallert was Mayor and Rod Steiger was sheriff now has a significant new voting population and blacks might be a majority in that county. But even if they aren't, they know have a voice in the electoral process. Someone like Steiger has to take that into account now. Of course some of his deputies might not yet be with the program which explains why when a murder/robbery is committed of a very prominent northern businessman, Warren Oates sees fit to roust Sidney Poitier who's an unfamiliar black face in that town.

What a surprise they all get when they find out he's a top Philadelphia, Pennsylvania homicide detective and when his identity is established, his boss in Philly offers his services.

Poitier and Steiger both have to work through their prejudices, how each sees the other to solve this mystery which writer Stirling Silliphant gives us several red herrings before we learn the truth. Though Steiger got the Oscar for Best Actor, it should really have been a joint award. Their conflict and growing respect for each other drives the film. Steiger needs his expertise and respects him for that and Poitier comes to respect Steiger for his honesty.

Norman Jewison got great performances from his stars and the supporting cast of whom Warren Oates as the dimwit redneck deputy really shines.

Though set in a very narrow period of our history, In the Heat of the Night holds up very well with some eternal truths in its story. And it's the story of times that were a changing as one spokesman of the sixties put it.