Heat of the Night Theories on Prejudice

¶ … Heat of the Night

Theories on Prejudice and Discrimination

The first thought on prejudice and discrimination in this movie naturally falls to the race of Virgil Tibbs (i.e., Sidney Poitier) but this movie delves in much more subtle comparisons and stereotypical prejudices than mere skin color.

A film in the late 1960's did not headline a black actor. Significant is the fact that Tibbs is allowed to be smart, clever, empathetic, superior, and dedicated to finding the killer - even while realizing he is being framed for a murder he did not commit.

Sheriff Bill Gillespie (Rod Steiger) is the perfect white counterpoint to Tibbs: manipulative, curiously vulnerable, steely when crossed, and white - stereotypical redneck portrayal of a Southern public servant.

The underlying theory of prejudicial racism is clearly defined - if subtly - by the deserted condition of the train station, the hour of Tibbs' arrival, and being arrested simply due to his color.

The film was an intelligent mix of cinematography and shrewd portrayal of human nature; it was so controversial at the time that it couldn't be filmed in the Deep South; sets were recreated in Sparta, Freeburg, and Belleville, Illinois and Dyersburg, Tennessee!

Race Relations in the North and South

Race relations between the north and south were strained for many years before and after the Civil War; it has only been in the last 2 decades that we have witnessed abolition of such antiquated and unfair treatment of blacks and whites in respective areas of the country.

Skin color seems to presume guilt in this movie; when it emerges that Tibbs is a homicide investigator from Philadelphia, quick and able to solve the murder of the opportunistic business owner, the protagonist subtly shifts from Gillespie to Tibbs without obvious reversion in making Gillespie an antagonist.

The delightful tension in this movie reflects that all journeys begin with a single - if not long - stride and the entrenched opinions and lack of humility on both sides of the Mason-Dixon line are key.

Although one episode of team work would not reverse decades of racism, the viewer gets to enjoy watching both men need one another, depend on the other's strengths, and be forced to take a step back from old prejudices and pre-formed opinions to realize they may not be so right after all.

Realism of Behaviors

In The Heat of the Night accurately depicts cultural, racial, and geographical stereotypes and prejudices; history reports many cross-mistreatments of humankind over small town vs. sprawling metropolis, red neck vs. cultured, black vs. white, important career vs. small town nobody.

For example, when Virgil confidently demonstrates his investigative skills in front of the prejudiced Sheriff and his deputies, Gillespie can't help but insult him after being embarrassed and shown up:

Gillespie: Well, you're pretty sure of yourself, ain't you, Virgil? Virgil, that's a funny name for a nigger boy to come from Philadelphia. What do they call you up there?

Virgil: They call me Mister Tibbs.

The Sheriff tricks and challenges the smart black detective to stay and help solve the murder case using his experienced in police work and forensics:

You're so damn smart! You're smarter than any white man. You're just going to stay here and show us all. You got such a big head that you could never live with yourself unless you could put us all to shame...I don't think you could let an opportunity like that pass by.

Gillespie summarizes what life is like when the Philadelphia detective visits his home:

Gillespie: You know, you know Virgil, you are among the chosen few.

Virgil: How's that?

Gillespie: Well I think that you're the first human being that's ever been in here.

Virgil: You can't be too careful, man.

Gillespie:...I got no wife. I got no kids. Boy... I got a town that don't want me... I'll tell you a secret. Nobody comes here, never.