Few things date more quickly than ‘Progressive’ Hollywood films. Often as not, passé before they hit the screen. So all credit to this racially-charged murder procedural that plunks a top Black Detective from Philly, PA into a high-profile/Deep-South/small-town homicide investigation. The film, one of the great entertainments in a competitive year of change in Hollywood (topping BONNIE AND CLYDE, THE GRADUATE, GUESS WHO’S COMING TO DINNER and, of all things, DOCTOR DOLITTLE for Best Pic Oscar®) remains remarkably lively, well-observed and unembarrassing. Four reasons why: a twisty murder mystery, not just scaffolding for current affairs; superbly caught atmosphere and inconspicuously imaginative craftsmanship from director Norman Jewison and cinematographer Norman Wexler*; Rod Steiger’s unexpectedly layered Southern-Fried Police Chief; and naturally Sidney Poitier’s stubborn/proud Northern Detective from his annus mirabilis*, whose on screen strengths (slow-burn dignity, gravitas & grace, intelligent vibe, reserved physicality, elegance) can sometimes hold him back, but here are a perfect fit.
ATTENTION MUST BE PAID: *Wexler’s changing palette & saturation levels, a masterclass in technique and a tutorial in the rise of ‘60s visual sophistication in Stateside filming standards. Imagine what Lew Wasserman’s Universal Studios would have done to his negative at the time. But also compare with today’s standard desaturated wash of autumnal gloom. Just check out the railway station scene midway in that consists entirely of different shades of grey. So, of course, cinematography the one major craft award where HEAT wasn’t even nominated come Oscar season.
SCREWY THOUGHT OF THE DAY: *Poitier hit the movie star trifecta in ‘67 with three huge hits: TO SIR WITH LOVE (Black American teacher wins over White lower-class British school kids; plus hit pop tune!); Love is color-blind DINNER; and this. Note: DINNER had a staged release and was (God help us) second highest grosser in ‘68.
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