炎热的夜晚

Oscar’s BEST PICTURE obtainer, Canadian filmmaker Norman Jewison’s IN THE HEAT OF THE NIGHT pluckily wrestles with the racial tension through a black-skinned homicidal detective Virgil Tibbs (Poiter), hailed from Philadelphia but stands up like a sore thumb in a southern town Sparta in Mississippi, where a wealthy industrialist is murdered.

Virgil is wantonly brought to the local police station as the chief suspect in the first place, by a vacuously cocksure officer Sam Wood (Oates, conspicuously poses with an air of casual small-mindedness), a decision precociously conducted simply owing to Virgil’s skin color, albeit he is garbed in suit-and-tie, Sam instinctively deems this black guy is the murderer without even questioning him, assumes that he awaits fleeing in the train station at 3 a.m. Virgil remains cooperative under duress, only to manifest his ace in the hole with his police badge, in front of the sheriff Gillespie (Steiger), the first slap in the face.

While it seems arbitrary that Virgil's superior would patly ask him to assist the investigation by phone, but the sticking point soon boils down to Virgil's decision of leaving or staying (due to the rampant hostility from local peckerwoods), a seesaw game well played between Virgil and Gillespie, each turnabout marks a shifting progress in their respective cognition towards each other, in tandem with the ongoing police procedural. But admittedly the unfolding crime-solving routine doesn’t crop up completely creditable as the film’s renown attests. Virgil is way head and shoulders above his peers born with lighter-complexion, in certifying facts and sifting out clues (and might even be endowed with some psychic ability, otherwise how could he be so sure about Sam’s veered routine? A snag the film never cares to elucidate). The only foible is his preconceived bias, which is accountably shaped up by hardened racism he has to come in for on a daily base, and near the climax, he admits it frankly and timely swerves to the right track in teasing out the hidden perpetrator.

Tellingly, what makes the film"culturally, historically, or aesthetically significant”, cited as its induction in the United States National Film Registry in 2002, is the palpably construction of the foe-to-friend transition between these two men, but not in the modality of indoctrination or spoon-feeding, today’s audience might find it beggar-belief to some egregiously blinkered presentation of racism (which could very much be the case as we twig half a century later, the canker has never ceased to incubate), however, not for one minute, we have to stretch our suspended disbelief in view of the two men’s mutual conflict-and-reconciliation, a sensibly crafted understanding-vanquishing-prejudice which can be related to every spectator, it is the very basic technique in storytelling: be relatable without resorting to simple preaching, but to round it out in all its integrity and empathy, it is another matter, in this sense, the film merits all the accolades it garners.

Rod Steiger won Oscar’s BEST ACTOR trophy for his bellowing imposition and everyday toiling amplified in high voltage, but in hindsight, it is hard not to attribute his triumph (at least to a degree) to the inexorable gesture of urgent political correctness. Sidney Poitier, by contrast, takes on a subtler but no less dramatic seething-and-smouldering performance to the fore in his trailblazing embodiment for his own race, a crusade he pulls his back into with unalloyed dignity and honesty. Lee Grant, in a small but pivotal role as the newly widowed rich wife from north, choreographs a most revealing pas-de-deux with Poitier in their first scene together, gives a chilling vibe of the congenital racism even from those who are ostensibly liberal-minded, the poison is like old habits, roundly die hard.

An opportune tirade spiked with oomph (tantalizing nudity is included), oompah (courtesy to Quincy Jones’ throbbing score and Ray Charles’ theme song) and moxie (robustly edited byHal Ashby who was received his first-and-only Oscar statuette, which might facilitate his transition to the director chair), like Stanley Kramer’s INHERIT THE WIND (1960), IN THE HEAT OF THE NIGHT needs to be mandatorily watched by every single human being if we were living in a perfect world, simply because there is cardinal verity in its story that no other belief can twist or garble.

referential points: Jewison’s FIDDLER ON THE ROOF (1971, 6.4/10), MOONSTRUCK (1987, 7.6/10);Stanley Kramer’s INHERIT THE WIND (1960, 7.7/10)

Philip Colbert, a wealthy man from Chicago who was planning to build a factory in the rural town of Sparta, Mississippi, is found murdered. Police Chief Bill Gillespie (Rod Steiger) comes under pressure to quickly find Colbert's killer. African-American northerner Virgil Tibbs (Sidney Poitier), passing through, is picked up at the train station by a police officer (Rod Steiger) who finds Tibbs with a substantial amount of cash in his wallet. Officer Gillespie, heavily prejudiced against blacks, jumps to the conclusion that he has his culprit, but is embarrassed to learn that Tibbs is a respected Philadelphia homicide detective who had been visiting his mother. After the bigoted treatment he received, Tibbs wants nothing more than to leave Sparta as quickly as possible, but his captain recommends he stay and help the investigation. The victim's widow, already frustrated by the ineptitude of the local police, is impressed by Tibbs' expert ability when he clears another wrongly-accused suspect Gillespie has arrested on flimsy evidence. She threatens to stop construction on the much-needed factory unless Tibbs leads the investigation. Unwilling to accept help but under orders from the town's mayor, Gillespie talks Tibbs into lending his services. Despite the rocky start to their relationship, the two police come to respect each other as they are compelled to work together to solve the crime. Tibbs initially suspects wealthy plantation owner Eric Endicott, who opposed the new factory. When he attempts to interrogate Endicott about Colbert, Endicott slaps him in the face. Tibbs slaps him back, which leads to Endicott sending a gang of redneck hooligans after Tibbs. Gillespie rescues Tibbs from the fight and orders him to leave town for his own safety. Tibbs refuses to leave until he has solved the case. Tibbs asks Sam Wood, the officer who discovered the body, to retrace his steps the night of the murder. He and Gillespie accompany Sam on his patrol route, stopping at a diner where the counterman, Ralph Henshaw, refuses to serve Tibbs because he is black. When Tibbs notices that Sam has deliberately changed his route, Gillespie begins to suspect Sam of the crime. When he discovers that Sam made a sizable deposit into his bank account the day after the murder (which Sam claims was gambling winnings) and Lloyd Purdy, a local, files charges against Sam for getting Purdy's 16-year-old sister, Delores, pregnant, Gillespie arrests Sam for the murder over Tibbs' protests. Purdy is insulted that Tibbs, a black man, was present for his sister's interrogation about her sexual encounter with Sam, and he gathers a lynch mob to get his revenge on Tibbs. Tibbs is able to clear Sam by finding the original murder scene and pointing out that Sam would not have been able to drive two cars at the same time to dump the body and the victim's car while continuing on his patrol. Acting on a hunch, Tibbs tracks down the local back-room abortionist, who reveals that someone paid for Delores Purdy to have an abortion. When Delores arrives, Tibbs pursues her outside, where he is confronted by the murderer: the diner counterman Ralph Henshaw. Purdy's mob tracks down Tibbs at this moment, and he is being held at gunpoint when he proves to Purdy that it was Ralph, not Sam, who got Delores pregnant. Purdy attacks Ralph, who kills Purdy in self-defense. Ralph is arrested and confesses to the murder of Colbert. He had attempted to rob Colbert to gain money to pay for Delores' abortion but accidentally killed him. His job done, Tibbs finally boards the Gulf, Mobile, & Ohio train out of town, seen off by a more respectful Gillespie.

在评说这部电影前，首先要科普当时美国黑人，正处于黑人平权运动的高峰，各种民族运动此起彼伏。而美国有色人种与白人之间也因为这场平权运动，互相的关系也搞的越来越紧张，甚至引起了不小的骚乱。这些社会问题，造成了当时美国社会的一些动荡情况。

穿着西装提着大箱子的黑人提布斯，由于要换车去芝加哥，所以停留在了小镇斯帕特。

小镇人口稀少，是一个典型的美国式南方城镇。充满着平静和祥和，巡警山姆跟往常一样，从路边小店出来后，开始了夜晚的巡逻。伴随着60年代的金曲，来到了一处住所，因为正是一年中最热的夏天，所以住着这里的大胸女人喜欢脱光了，在房间里漫无目的游荡。山姆很喜欢安静的看着这个裸女喝冰可乐，这让他有些冲动，特别是在这种燥热的夜晚。不过胆小的山姆，没有忘记自己的任务。他继续开始在小镇夜晚空旷的路面上巡逻，直到发现了一具尸体，这是从芝加哥来的大富豪科尔伯特，他到斯帕特小镇是为了新建厂区，带动当地就业，没想到横尸于此，而同时失踪的还有科尔伯特随身带的现金。

闻讯而来的警长盖尔斯，在了解到情况后，根据自己多年的刑侦经验，判断这是一起杀人越货的抢劫案，但又觉得自己的小镇，民风淳朴，应该没人会干下这等残忍的事情。不过结合当时美国，由于战后公路网建设的日趋完善，公路抢劫案件屡见不鲜。所以很多歹徒，会开着车，走一路抢一路，其中比较著名的表现该现象的电影有《穷山恶水》。这种分析的结果，也直接导致了黑人提布斯的被捕。因为他是个北方来的黑人，并且随身携带了不少现金，理论上不应该出现在黑人身上的巨额现金。抓捕到黑人提布斯的正是巡警山姆，小伙子有点沾沾自喜，觉得立下大功一件。警长很快对这个从北方来的小伙子进行了审讯，戏剧化的事情发生了，这位提布斯先生竟然是一位芝加哥著名的刑侦专家。

提布斯先生的长官，希望他能够留下来帮助一起解决这起凶杀案，但小镇警长，并不想让一个外人介入，特别是一个黑人。影片就是围绕在种族仇视的角度，开始慢慢的发展起来。在遭遇到小镇不友好的待遇后，提布斯也不希望做过多的停留。但职业精神告诉他，应该留下来解决这个问题，而毫无头绪的警长盖尔斯，也无奈接受了这一提议。提布斯开始了侦办工作，但美国南部镇上的人对黑人都不是太友好，导致了进展并不顺利。没过多久又一个嫌疑人出现了——盲流哈维，虽然他拼命的挣扎，但总归是双拳难敌四手，被擒拿了回来。与此同时，提布斯警官找来了科尔伯特的遗孀，希望能够了解点科尔伯特的细节。科尔伯特太太是个漂亮的白人女性，金色的短发入时的打扮，在得知丈夫的死讯后有些歇斯底里。警长押着哈维回到了警局，并在科尔伯特太太面前，对哈维进行了侦讯，哈维表示自己只是捡了个钱包，并没有杀人。鲁莽的警长盖尔斯，并不这么认为，他觉得这个盲流所说的一切，完全都是狡辩。就在此时提布斯用他非常专业的判断，指出哈维确实不是凶手，因为哈维是个左撇子，而凶手是一个惯用右手行动的男人。

两人随即陷入了争吵，警长并不想被这个从北方来的黑人，教育如何去断案。在一旁观察许久的科尔伯特太太突然爆发，她希望得到的是真相、是凶手，而不是喋喋不休的人生攻击和谩骂。冷静下来的警长，决定给提布斯一次审讯的机会。为了消减哈维的敌意，提布斯主动与他关在了一起。并开始对他进行了心理攻势，希望能够从他这里得到更多的信息来侦破这起案件。由于当时刑侦手段和从业人员素质的原因，在美国社会造成了非常多的冤假错案。所以在当时的影视作品中，对于白人警察的描述都不太理想。在美国很多民主、法制和人权其实也是逐步完善的。很多制度，并不是建立在亭台楼阁之上的。提布斯警官，在得到了哈维的证词后，判断科尔伯特先生，是被抛尸的。而这一判断，让整个案情又扑朔迷离起来。或许是因为女人的直觉吧，科尔伯特太太相信了提布斯关于哈维不是凶手的论断，并希望他能够加入侦办工作中，但盖尔斯警长，因为种族上的轻视，依旧武断的赶走了黑人。

随着调查的深入，哈维的凶手身份，不攻自破。而科尔伯特太太利用在小镇投资工厂的事情，来给当地政府施压，希望他们能够尽快破案，这让警长倍感压力。无奈之下，只能在火车站找到了提布斯，并恳请他留下来帮助一起破案，在经过一番激将之后，提布斯决定留下来证明自己，证明自己不畏惧挑战，也并不比白人差。但黑人警察办案的事情，让小镇上的白人至上组织，感觉到了羞辱，他们表示提布斯如果不赶紧滚走的话，会让他看不到周日的太阳。两人在收集了不少证据后，把目标指向了棉花农场主，艾丁格先生的身上。艾丁格先生是个典型的种族主义者，他的棉花农场依旧保持着，美国南北战争前的风俗习惯。提布斯贸然的拜访，显然让艾丁格觉得自己受到了冒犯，于是与提布斯发生了一些冲突。但提布斯并不是他庄园上的农奴，愤而反击。这让一旁作陪的警长倍感尴尬，只能带着提布斯匆匆离去。不过他们确实收集到了一些证据，这个艾丁格的嫌疑一下子变大了，提布斯为在艾丁格这里受到的羞辱感到愤怒，愤怒让他不顾一切的想要找出更多的证据，把艾丁格送上电椅。

提布斯在收集更多证据的路上，遇上了白人至上组织的围攻，好在警长及时赶到，救出了他。同时也希望他能够尽快离开这个是非之地，毕竟这不是提布斯的小镇。但被愤怒冲昏了头脑的提布斯，并不想就此罢休，他依旧我行我素的收集着证据。就在大家忙的焦头烂额的时候，有出现了新的证据，发现尸体的山姆警官，突然往银行里存了一大笔钱，这让警长把调查的重点放在了山姆身上。难道山姆是在贼喊捉贼么？冷静下来的提布斯，经过判断，先后排除了艾丁格和山姆的嫌疑，此时案件又回到了起点。就在众人又一次陷入沉寂时，大胸女的哥哥珀迪来到警长室，控告山姆强奸了她，并是她怀了孕。不过提布斯很快，就从众人的话语中，找到了破绽，而渐渐的他看穿了到底谁是凶手，只是还需要再证实一些事情。提布斯很快从盲流百晓生哈维口中，得到了一个专干非法堕胎的黑妇人巴丽梅太太的情报。他在走访了这位巴丽梅太太后，得到了那个真正使大胸女怀孕的男人，会和大胸女一起来堕胎的情报。提布斯通过从蛛丝马迹中，得出了这个使大胸女怀孕的男人，就是凶手的结论。令人意外的是，陪同大胸女同来的竟然是小饭店老板洛夫。在提布斯与洛夫发生冲突时，白人至上组织和大胸女的哥哥一同赶来。善于见风使舵的洛夫，马上蛊惑这群白人暴徒去攻击提布斯，想要借刀杀人掩盖真相。就在他们要痛下杀手时，提布斯向大胸女的哥哥道出了真相。气疯了个珀迪，开始质问洛夫，惊慌失措的洛夫，失手打死了大胸女的哥哥后，被众人擒下，案件到此也真相大白。

其实洛夫，本来是想要用借刀杀人之计，嫁祸到山姆身上的，但不曾想让整个黑人神探给搅乐局，真是机关算尽太聪明，身背两条性命的他，看样子是难逃一死。在整个侦办过程中，警长盖尔斯与黑人神探提布斯，早已结下了深厚的友谊，他亲自送黑人神探上了火车，电影最后依旧希望黑人与白人之间能够放下仇恨，真正紧密的团结起来。

这部电影的政治意义，显然是要大过其艺术上的意义的。其实整个探案过程，非常的意识流。并没有太过显示出在开端时营造的，所谓黑人神探的形象。电影主要还是表露出对于当时美国的种族政策，冤假错案等等方面的思考。不过这部电影中所描绘的黑人，其实是一种所谓的美国白人，理想化的非洲裔美国人形象。相信当时美国主流声音，也希望通过对于提布斯这样的白人化的黑人形象描绘，来希望黑人能够积极的融入主流的美国社会，而不是让白人去迁就他们。这也对因为民权运动，而在当时美国国内越演越烈的暴力事件，起到一些积极的作用。 电影作为美国在冷战思维下，极端重要的宣传工具，奥斯卡最佳肯定要服从于一些统战工作。这一点方面，也希望我们的一些电影人能够行动起来。因为我们有理由相信，中国社会确实是在逐步完善和变化的，虽然还有这样那样的弊病，但只要敢于面对，从我做起。靠着一代又一代的努力，很多问题终究会得到妥善的解决。所以少一点抱怨，多一点思考，才是当代中国人应该做的。美好的事务，总是伴随着苦难，而没有经历过苦难，又有谁真的会去珍惜美好的事务呢。