Police Chief Gillespie: Virgil, that's a funny name for a nigger boy to come from Philadelphia. What do they call you up there?
Det. Virgil Tibbs: They call me Mister Tibbs!A 1967 mystery drama film adapted from a 1965 novel of the same name by John Ball, directed by Norman Jewison and starring Sidney Poitier and Rod Steiger.On his way back home after visiting his mother, black Philadelphian Virgil Tibbs (Poitier) is arrested on suspicion of the murder of a prominent factory owner in Sparta, Mississippi due to the simple circumstance of being black and having money in his pocket. However, while the police are questioning him he reveals that he is in fact a police officer himself, and when he has Police Chief Bill Gillespie (Steiger) contact his department for verification he is told by his superiors that he should assist the locals in solving the case — partnered with the same casually racist Gillespie. It's a rocky start to the partnership, but the more Tibbs displays his detective prowess, the more Gillespie comes to respect him. Working together, chasing several false leads, and fighting against the truly rabid racism of some of the local rednecks, they solve the case.The film received seven Academy Award nominations, winning for Best Picture, Actor (Steiger), Editing (Hal Ashby), Adapted Screenplay (Stirling Silliphant), and Sound. Poitier went on to reprise his role in the sequels They Call Me Mister Tibbs! (1970) and The Organization (1971), both of which are set in San Francisco and feature more of an urban flavor.Twenty years later the film spawned a TV series with different actors, which has its own page.
This film contains examples of:
- Adaptation Personality Change: Tibbs is a lot more assertive in the movie than he was in the book.
- Adaptational Villainy: Endicott, the plantation owner, is a sympathetic character in the novel with no hint of racial prejudice. In the movie he's an unabashed racist whose goons try to kill Tibbs after their confrontation.
- Angry Black Man: Tibbs has every reason for his patience to be tested, and he later admits that his anger got him on the wrong track for a bit.
- Back-Alley Doctor: Mama Caleba, the town abortionist.
- Bookends: Tibbs both arrives and leaves town by train.
- Character Tics: Gillespie chews gum constantly.
- Chekhov's Gunman: The guy who works at the diner, who basically plays no role in the story at all and is only scene in two scenes, until the end when he's revealed to be the murderer.
- Deep South
- Don't You Dare Pity Me!: Gillespie. Seriously, don't. He gets scary.
- Extremely Short Timespan: 48 hours, tops.
- False Rape Accusation: Or statutory rape, anyway. Delores Purdy accuses Sam Wood of impregnating her to cover for Ralph Henshaw.
- Feet-First Introduction: Tibbs, disembarking from the train during the opening credits. We don't see his face (or see him again at all) until some ten minutes into the film.
- Fish out of Water: Tibbs, the black big-city police detective, making his way in a racist small-town Mississippi backwater.
- Greasy Spoon: Compton's Cafe, where Ralph Henshaw works.
- Heat Wave: It's September, but Sparta is still in the grip of one of these.
- London England Syndrome: When they first meet, Tibbs tells Gillespie he's from Philadelphia, Pennsylvania, not Philadelphia, Mississippi. Gillespie was checking which Phillie Tibbs was referring to.
- Making Love in All the Wrong Places: Delores Purdy tells Gillespie that Sam Wood got her pregnant after taking her to the cemetery for sex, although this turns out to be false testimony.
- Momma's Boy: The reason Tibbs is in Sparta in the first place is that he's changing trains on his way back from visiting his mother.
- Noble Bigot with a Badge:
- Gillespie starts out as one. By the end of the movie, he can hardly even be called a bigot.
- Tibbs briefly slips into this territory for a moment as well, enraged from being slapped by the plantation owner Endicott:Tibbs: I can pull that fat cat down and bring him right off this hill!
Gillespie: Oh, boy... Man, you're just like the rest of us, ain't ya?
- Odd Couple: Gillespie and Tibbs.
- The Peeping Tom: Officer Sam Wood stops on his nightly patrol route to gawk at Delores Purdy, who parades around her kitchen in the nude.
- Police Are Useless: It is explained that Sparta has not had a murder in ages, and the small-town tactics they employ do not cover the severity of the case. Gillespie is competent in things like chasing down suspects, but figuring out a murder requires the forensics skills that Tibbs knows by heart.
- Pragmatic Adaptation: The novel's Mr. Tibbs was a polite, non-confrontational African-American; the film's Mr. Tibbs, on the other hand, is much more assertive towards the bigots around him.
- Punctuated! For! Emphasis!: Tibbs' best-known line qualifies.
- Reasonable Authority Figure: Gillespie, of all people. Despite his racism, he is pissed to find out that his men just arrested a cop and did not even bother to search him or check his identification before bringing him into the station. And in his own way he more or less begs Tibbs for his help, acknowledging that he and his fellow cops cannot solve a murder this complicated on their own.
- Red Herring: The racially charged environment had nothing to do with the murder. It was just a mugging gone wrong.
- Run for the Border: Harvey Oberst, fleeing from the Sparta police, almost makes it across the Mississippi River bridge to Arkansas... except that Gillespie, already parked on the Mississippi end in his car, simply drives up and intercepts him mid-span.
- Salt and Pepper: Gillespie and Tibbs.
- Scenery Censor: The opening sequence has Sgt. Wood, out on his regular nightly patrol, stopping outside the house of a gorgeous, busty, naked young Delores Purdy, who seems to know that he is outside looking. In both a long shot and a medium shot, the window sash is carefully placed to hide the woman's nipples.
- Shameless Fanservice Girl: Delores Purdy parades around her kitchen in the nude to get her kicks.
- Source Music: Officer Wood listens to music on a portable radio in his patrol car, while Henshaw plays records on the jukebox at Compton's.
- Teeth-Clenched Teamwork: Gillespie is not too thrilled to have Tibbs second-guessing him during the early part of the investigation, but when Tibbs keeps getting proved correct, Gillespie lets up on the animosity. For his part, Tibbs does not help ease tensions as he withholds key observations at times and keeps trying to lead the investigation his way.
- They Call Me Mister Tibbs: Virgil Tibbs says this to Gillespie after the latter asks him how he is addressed up North.
- Title Theme Tune: Performed by Ray Charles. It became a minor hit.
- Wham Line:Gillespie: Now, just what do you do there in little ol' Pennsylvania to earn that kinda money?
Tibbs: I'm a police officer!
- Later on, when Gillespie suspects his deputy Sam of the murder, Tibbs delivers a line which shakes the former:Tibbs: Sam couldn't have driven two cars.
- Later on, when Gillespie suspects his deputy Sam of the murder, Tibbs delivers a line which shakes the former:
- Wrongly Accused:
- Tibbs is but the first of several people falsely suspected of the murder, suspected simply because he is a black man in town with a large amount of money in his pockets.
- The second is Harvey Oberst, a guy who was caught with Colbert's wallet. Virgil clears him on the grounds that he is left-handed and the blows to Colbert's head were from the right hand.
- The third is Sam Wood, one of Gillespie's men, who deposited a large amount of cash around the time of the murder, and lied about the road he drove on during his beat. The reason for his lie is because he didn't want reveal he was eyeing Delores Purdy, who is notorious for parading around in the nude. He also couldn't have murdered Colbert, because the person who killed Colbert drove the dead man's car. Sam couldn't have driven that car and his own patrol car.
- While he's never formally charged or accused, Endicott is briefly suspected by Tibbs due to his opposition to Colbert's factory and the discovery of a fern from his greenhouse being found in the dead man's car.