In the Heat of the Night (1967)

 

Ah. There's nothing quite like Ray Charles to set the mood for a southern film about murder and bigotry. 

The story is a good one. A detective story with some twists. And even though there are plenty of detours, they never really forget that, and it keeps the flow of the film going. Also, it makes it smarter.

Steiger is massive here. Frantically chewing his gum, trying to solve a murder using a black policeman, whilst keeping his integrity amongst the countryfolks, who are less inclined to accept a black man's authority. All the while struggling to overcome his own prejudice and loneliness, as he slowly starts to respect Mr. Tibbs. Easily earning his little golden man for best performance. Poitier is stoic and repressed as the well-educated coloured man amongst racist red-necks, though it is a treat when they manage to find his line, even though his response is still very much controlled and with the proper retaliatory response. There is also a special mention for Anthony James, for one of the creepiest characters in cinematic history. 

The movie is very slow in pace, director Jewison (nominated for an Academy Award) letting his wonderful cast, and the sombre mood of the town, work wonders. Racism is an ugly thing in general, and even more so when it's an important part of culture. Enough to make people look the other way to heinous demeanours. Jewison is not afraid to show us that aspect in this film, making it both important, but also hard to watch at times. The suspense is built around very minute details, in total silence most of the time. And it works a treat. 

Quincy Jones provided the music, and it is pitch perfect. Though the most unnerving instalment in that respect is "Foul Owl", setting a truly eerie mood to an already disturbing scene. 

An important film, and a very good one too. One of the few films actually worthy of being called a classic.

9/10

The Eiger Sanction (1975)

So the gruff Eastwood has done a film where he portrays an art professor... Though naturally doubling as a professional assassin. Directed by himself. Intriguing. My scepticism feels unbearable. 

Eastwood as a professor really doesn't fit. Not even as a mountain-climbing professor. His gravelling voice and rough demeanour are bad enough, not to mention the fact that he serves his women steaks. But his trademark sneering and unnecessary brutality (in words and action) doesn't really scream "professor". This is 70's Eastwood. He might be a cop, an alcoholic or both. But he's certainly no professor. "Suave" will never be a term to coin Eastwood. 

As for the rest of the cast, it's mainly to provide service to Eastwood, though Vonetta McGee does stand out with a very believable charm. Furthermore it's always nice to see George Kennedy, and he does make a meal out of a rather shallow part. 

The scenery is lovely at times. Naturally as mountain climbing is a big part of what seems to be a plot. Well, actually, the plot itself isn't half-bad. The problem is director Eastwood doesn't really stick to it, and just sums it up with dialogue from the daftest character on show at an opportune time. It seems a bit random which parts of the story take focus at different times of the film, and an older (and better) director Eastwood would have done a better job with the story available to him.

The action is in short supply, bar some fight-scenes, and they are mostly in here to make Eastwood look tough and brutish. But setting up a mountain-climb where one of the climbers is a killer (and we don't know who), is always a great source of suspense, and it works here as well. Quite marvellously. 

So the story is decent, but well hidden. The protagonist is direly miscast if they wanted him to actually have the mannerisms of a professor (and there is no need for him to be script-wise), and the suspense is well executed. The humour is gruff and very macho (also funny for the most part), and John Williams actually wrote a lovely little score. 

6/10