In the Heat of the Night is being remade for TV | Little White Lies

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In the Heat of the Night is being remade for TV

17 Jan 2017

Words by Dan Einav

Two people, a man and a woman, conversing intensely. The woman appears distressed, while the man has a stern expression.
Two people, a man and a woman, conversing intensely. The woman appears distressed, while the man has a stern expression.
Screen­writer Joe Robert Cole is adapt­ing the civ­il rights era dra­ma for a mod­ern audience.

Nor­man Jewison’s Oscar-win­ning In the Heat of the Night is set to be adapt­ed for tele­vi­sion by Joe Robert Cole, the writer and pro­duc­er of 2016’s hit mini-series The Peo­ple v OJ Simp­son. The show, which is cur­rent­ly in the ear­ly stages of devel­op­ment at MGM Tele­vi­sion, will revive the sto­ry of detec­tive Vir­gil Tibbs (Sid­ney Poiti­er) who rails against the prej­u­dice he receives from his peers as they try to solve a mur­der case in a small Mis­sis­sip­pi town.

Based on a 1965 nov­el by John Ball, the film is remem­bered less for its grip­ping who­dunit plot and more for its unflinch­ing look at racism in rur­al Amer­i­ca at the height of the Civ­il Rights Move­ment. Fifty years one, it still packs a seri­ous polit­i­cal punch. Togeth­er Jew­i­son and Poiti­er evoca­tive­ly cap­ture the sti­fling atmos­phere of the Deep South; the heat as oppres­sive as the archa­ic social codes of the time.

Ini­tial exchanges between Tibbs and his adver­sary, the big­ot­ed Police Chief Gille­spie (Rob Steiger), sim­mer with mutu­al spite before explod­ing in fits of bil­ious racism. And while the act­ing is per­haps a lit­tle stagey by today’s stan­dards, Poitier’s icon­ic dec­la­ra­tion of agency and author­i­ty (“They call me Mr Tibbs”) endures as one of cinema’s most stir­ring moments.

It will be inter­est­ing to see how close­ly Cole choos­es to stick to the source mate­r­i­al, and whether his show will have any­where near the same lev­el of cul­tur­al impact, although the fact that his is report­ed­ly set to update the era and set­ting sug­gests that he’s not inter­est­ed in doing a straight­for­ward remake. By trans­pos­ing the sto­ry to present-day Amer­i­ca, but retain­ing the orig­i­nal title, Cole makes a clear state­ment of intent: the racial con­flict and ram­pant dis­crim­i­na­tion at the heart of this sto­ry is no less preva­lent today than it was half a cen­tu­ry ago.

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