Racial prejudice and stereotypes in In the Heat of the Night

¶ … 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!

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.

In the final memorable scene, after the crime is solved, Tibbs and Gillespie say goodbye at the train station as Virgil leaves town. Virgil takes his suitcase, which Gillespie is carrying.

Gillespie: Well, got your ticket? Here you are. (Gillespie hands him his luggage.)

Virgil: Thank you. (Gillespie offers his hand for a handshake.) Bye-bye.

Gillespie: Bye. (Tibbs climbs the stairs of the train as Gillespie walks away a bit.) Virgil? (Tibbs looks back.) You take care, you hear? (A faint smile crosses both their faces.)

Virgil: Yeah. (Tibbs enters the train car.)

Modern Version

The modern serial version of In the Heat of the Night was a sensitive, politically correct version of racial differences in the deep South. Although problems based on skin color and prejudice often played out in the hour-long episodes, these problems never came from the sheriff's office - his constituents loved and respected him and his deputies.