Bill Cosby Film Entitled Lets Do It Again.
Two blue-collar workers endeavor to con a powerful gangster.
Film Details
MPAA Rating
Genre
Release Engagement
1975
Distribution Company
Warner Bros. Home Entertainment Grouping; Warner Bros. Pictures Distribution
Technical Specs
Duration
1h 52m
Sound
Mono
Color
Color (Technicolor)
Synopsis
Clyde Williams and Billy Foster are blue-collar workers who promised to raise money for their club, the Brother and Sisterf of Shaka. Their program to raise the money involves going to New Orleans and rigging a boxing match by hypnotizing the scrawny underdog to make him believe he is a fierce, unbeatable champ. They bet large on him, he wins, and they return habitation with the coin. But when some gangsters who lost money on the match show upwardly, Clyde and Baton are forced to practise the same thing once more so that these men can win their money back. And information technology remains to be seen if they can do it once more.
Crew
Videos
Flick Details
MPAA Rating
Genre
Release Date
1975
Distribution Company
Warner Bros. Home Amusement Group; Warner Bros. Pictures Distribution
Technical Specs
Duration
1h 52m
Audio
Mono
Color
Color (Technicolor)
Manufactures
Ossie Davis (1917-2005)
Ossie Davis, the distinguished African-American character actor, director and ceremonious rights activist, died of natural causes on February 4 in Miami Beach, where he was filming a moving-picture show. He was 87.
He was born Raiford Chatman Davis on Dec 18, 1917 in Cogdell, Georgia. His parents called him "R.C." When his mother registered his nascency, the county clerk misunderstood her and idea she said "Ossie" instead of "R.C.," and the name stuck. He graduated high school in 1936 and was offered two scholarships: one to Savannah Country College in Georgia and the other to the famed Tuskegee Institute in Alabama, but he could not afford the tuition and turned them down. He somewhen saved plenty coin to hitchhike to Washington, D.C., where he lived with relatives while attention Howard University and studied drama.
As much as he enjoyed studying dramatics, Davis had a hunger to practise the trade professionally and in 1939, he left Howard University and headed to Harlem to piece of work in the Rose McClendon Players, a highly respected, all-black theater ensemble in its 24-hour interval.
Davis' good looks and deep vox were impressive from the beginning, and he quickly joined the visitor and remained for three years. With the onset of World War II, Davis spent nearly four years in service, mainly every bit a surgical technician in an all-black Regular army hospital in Liberia, serving both wounded troops and local inhabitants before being transferred to Special Services to write and produce phase shows for the troops.
Back in New York in 1946, Davis debuted on Broadway in Jeb, a play well-nigh a returning black soldier who runs afoul of the Ku Klux Klan in the deep s. His co-star was Cerise Dee, an attractive leading lady who was one of the leading lights of blackness theater and pic. Their initial romance soon developed into a lasting bond, and the two were married on Dec 9, 1948.
With Hollywood making much more socially conscious, developed films, especially those that tackled themes of race (Lonely Are The Brave, Pinky, Lost Boundaries all 1949), it wasn't long before Hollywood came calling for Davis. His commencement film, with which he co-starred with his wife Dee, was a tense Joseph L. Mankiewicz'due south prison drama with strong racial overtones No Way Out (1950). He followed that up with a part as a cab commuter in Henry Hathaway's Fourteen Hours (1951). Yet for the near part, Davis and Dee were primarily phase actors, and made few picture appearances throughout the decade.
Notwithstanding, in should be noted that much of Davis time in the '50s was spent in social causes. Among them, a song protest against the execution of Julius and Ethel Rosenberg, and an alignment with singer and black activist Paul Robeson. Davis remained loyal to Robeson even after he was denounced by other black political, sports and prove business organization figures for his openly communist and pro-Soviet sympathies. Such amalgamation led them to suspicions in the anti-Communist witch hunts of the early '50s, only Davis, nor his wife Dee, were never openly accused of whatsoever wrongdoing.
If there was ever a decade that Ossie Davis was destined for greatness, it was undoubtly the '60s. He began with a hit Broadway show, A Raisin in the Dominicus in 1960, and followed that upward a twelvemonth later with his debut equally a playwright - the satire, Purlie Victorious. In it, Davis starred as Purlie, a roustabout preacher who returns to southern Georgia with a plan to buy his old primary'due south plantation barn and turn information technology into a racially integrated church.
Although not an initial success, the play would be adapted into a Tony-honor winning musical, Purlie years later. Yet just as important equally his stage success, was the fact that Davis' motion picture roles became much more rich and varied: a liberal priest in John Huston's The Cardinal (1963); an unflinching tough performance equally a black soldier who won't interruption against a sadistic sergeant's racial taunts in Sidney Lumet's searing state of war drama The Hill (1965); and a shrewd, evil butler who turns the tables on his employer in Rod Serling'due south Night Gallery (1969).
In 1970, he tried his hand at motion picture directing, and scored a hit with Cotton Comes to Harlem (1970), a sharp urban activity one-act with Godfrey Cambridge and Raymond St. Jacques as ii blackness cops trying to stop a con artist from stealing Harlem's poor. It'due south generally considered the commencement major crossover motion picture for the black market that was a hitting with white audiences. Elsewhere, he found roles in some popular telly mini-series such equally King, and Roots: The Side by side Generation (both 1978), but for the nigh part, was committed to the theater.
Happily, forth came Spike Lee, who revived his moving-picture show career when he cast him in School Daze (1988). Davis followed that up with two more than Lee films: Practice the Right Affair (1989), and Jungle Fever (1991), which also co-starred his married woman Dee. From at that place, Davis found himself in demand for senior character parts in many films throughtout the '90s: Grumpy Old Men (1993), The Client (1994), I'1000 Not Rappaport (1996), and HBO's remake of 12 Aroused Men (1997).
Davis and Dee celebrated their 50th wedding anniversary in 1998 with the publication of a dual autobiography, In This Life Together, and in 2004, they were among the artists selected to receive the Kennedy Center Honors. Davis had been in Miami filming an independent movie called Retirement with co-stars George Segal, Rip Torn and Peter Falk.
In addition to his widow Dee, Davis is survived by 3 children, Nora Twenty-four hours, Hasna Muhammad and Guy Davis; and seven grandchildren.
by Michael T. Toole
Ossie Davis (1917-2005)
Ossie Davis, the distinguished African-American character role player, managing director and civil rights activist, died of natural causes on Feb 4 in Miami Beach, where he was filming a movie. He was 87. He was born Raiford Chatman Davis on December eighteen, 1917 in Cogdell, Georgia. His parents called him "R.C." When his female parent registered his birth, the canton clerk misunderstood her and idea she said "Ossie" instead of "R.C.," and the proper noun stuck. He graduated high school in 1936 and was offered two scholarships: i to Savannah Country College in Georgia and the other to the famed Tuskegee Institute in Alabama, but he could not beget the tuition and turned them down. He eventually saved enough money to hitchhike to Washington, D.C., where he lived with relatives while attending Howard University and studied drama. As much as he enjoyed studying dramatics, Davis had a hunger to do the merchandise professionally and in 1939, he left Howard University and headed to Harlem to work in the Rose McClendon Players, a highly respected, all-black theater ensemble in its day. Davis' proficient looks and deep phonation were impressive from the beginning, and he apace joined the company and remained for iii years. With the onset of World State of war 2, Davis spent nearly four years in service, mainly equally a surgical technician in an all-blackness Army hospital in Liberia, serving both wounded troops and local inhabitants earlier being transferred to Special Services to write and produce stage shows for the troops. Back in New York in 1946, Davis debuted on Broadway in Jeb, a play about a returning blackness soldier who runs afoul of the Ku Klux Klan in the deep south. His co-star was Cherry-red Dee, an attractive leading lady who was one of the leading lights of black theater and film. Their initial romance soon developed into a lasting bond, and the two were married on December 9, 1948. With Hollywood making much more than socially witting, developed films, peculiarly those that tackled themes of race (Lone Are The Brave, Pinky, Lost Boundaries all 1949), it wasn't long before Hollywood came calling for Davis. His first film, with which he co-starred with his married woman Dee, was a tense Joseph L. Mankiewicz'south prison drama with potent racial overtones No Fashion Out (1950). He followed that upwardly with a role as a cab driver in Henry Hathaway's Xiv Hours (1951). Yet for the near part, Davis and Dee were primarily stage actors, and made few motion-picture show appearances throughout the decade. However, in should be noted that much of Davis fourth dimension in the '50s was spent in social causes. Amidst them, a vocal protest confronting the execution of Julius and Ethel Rosenberg, and an alignment with singer and black activist Paul Robeson. Davis remained loyal to Robeson even after he was denounced past other black political, sports and show business organisation figures for his openly communist and pro-Soviet sympathies. Such amalgamation led them to suspicions in the anti-Communist witch hunts of the early '50s, but Davis, nor his wife Dee, were never openly accused of any wrongdoing. If there was ever a decade that Ossie Davis was destined for greatness, it was undoubtly the '60s. He began with a hitting Broadway show, A Raisin in the Sun in 1960, and followed that upwardly a yr later with his debut equally a playwright - the satire, Purlie Victorious. In it, Davis starred as Purlie, a roustabout preacher who returns to southern Georgia with a plan to purchase his former primary'southward plantation barn and turn it into a racially integrated church. Although not an initial success, the play would be adapted into a Tony-award winning musical, Purlie years after. Yet only as important as his stage success, was the fact that Davis' motion picture roles became much more rich and varied: a liberal priest in John Huston's The Cardinal (1963); an unflinching tough performance as a black soldier who won't break against a sadistic sergeant'due south racial taunts in Sidney Lumet's searing state of war drama The Hill (1965); and a shrewd, evil butler who turns the tables on his employer in Rod Serling'due south Night Gallery (1969). In 1970, he tried his mitt at film directing, and scored a hit with Cotton Comes to Harlem (1970), a sharp urban activeness one-act with Godfrey Cambridge and Raymond St. Jacques equally two black cops trying to terminate a con artist from stealing Harlem'southward poor. It's more often than not considered the first major crossover film for the blackness market that was a hitting with white audiences. Elsewhere, he found roles in some popular television mini-series such as King, and Roots: The Next Generation (both 1978), just for the about part, was committed to the theater. Happily, along came Spike Lee, who revived his film career when he cast him in School Daze (1988). Davis followed that up with two more Lee films: Practise the Right Thing (1989), and Jungle Fever (1991), which too co-starred his wife Dee. From there, Davis constitute himself in demand for senior character parts in many films throughtout the '90s: Grumpy Old Men (1993), The Client (1994), I'm Not Rappaport (1996), and HBO's remake of 12 Aroused Men (1997). Davis and Dee celebrated their 50th nuptials anniversary in 1998 with the publication of a dual autobiography, In This Life Together, and in 2004, they were among the artists selected to receive the Kennedy Center Honors. Davis had been in Miami filming an independent movie chosen Retirement with co-stars George Segal, Rip Torn and Peter Falk. In addition to his widow Dee, Davis is survived past 3 children, Nora Twenty-four hours, Hasna Muhammad and Guy Davis; and 7 grandchildren. past Michael T. Toole
Let's Do It Again
Mode dorsum in the Watergate era, Warner Brothers had been reaping the successes of Uptown Sat Dark (1974), and was only besides eager to once again tap into the considerable chemistry displayed therein by Sidney Poitier and Beak Cosby and develop another amiable buddy farce targeted to urban audiences. Allow'due south Do Information technology Again (1975), recently released on DVD past Warner Home Video, barely deviates from the structure of the previous film, but the results remain amusing plenty to bear witness that information technology was worth returning to the well.
The setting this time is inner-urban center Atlanta, and the dilemma facing milkman Clyde Williams (Poitier) and forklift driver Billy Foster (Cosby) is the pending condemnation of their neighborhood guild building. Billy's got an adventurous scheme for scraping up the payment for a new facility that trades upon Clyde's skill as an amateur hypnotist. They pack their wives off to New Orleans on the pretext of a holiday, which includes taking in a middleweight championship boxing match. The plan involves entrancing the propped-up, long-shot challenger, a gangling patsy named Bootney Farnsworth (Jimmie Walker), into believing he'southward unstoppable, and placing the lodge's funds on his winning the belt.
Of class, it improbably pays off. Unfortunately, it as well gets ultimately figured out by Kansas City Mack (John Amos), the French Quarter ganglord who covered the action on the fight. He has Baton and Clyde dragged dorsum to boondocks so the hapless Bootney can have a few impressive sparring sessions earlier his rematch, and then be snapped out of it on fight nighttime, when Mack's money is riding on the challenger. The pair answer with some other hazardous gambit at getting out alive while fooling the heavies.
Today, as well as at the time of their release, various critics have been dismissive of the Poitier/Cosby comedies equally warmed-over Amos 'n' Andy draped in polyester, and that's less than fair. They were, and remain, accessible crossover entertainments, that assembled enviable arrays of talented screen performers whose strengths were played to past Poitier as director. The supporting cast here is especially strong, with Denise Nicholas and Lee Chamberlin as the heroes' plucky wives, Ossie Davis as the lodge elder, Mel Stuart as Bootney's handler, and Calvin Lockhart equally Amos' underworld rival. The opening sequences characteristic brief appearances by George Foreman and Jayne Kennedy as co-workers of Cosby's.
Warner provided an exceptionally clean transfer in its mastering of the DVD, which is presented in an attribute ratio of 1.85:ane. The mono audio is as well clean, just one wishes the familiar Curtis Mayfield/Staple Singers soundtrack had been done better service. The only extra provided is a characteristic-length commentary past Richard Wesley, the writer of the film'southward screenplay, and by New York Press critic Armond White. Wesley offers plenty of anecdotes regarding the project'due south evolution, and White ably sets out the significance of the product in the context of its times.
For more data about Allow's Exercise It Once more, visit Warner Video. To order Let's Do It Again, get to TCM Shopping.
past Jay S. Steinberg
Let'south Do It Again
Way dorsum in the Watergate era, Warner Brothers had been reaping the successes of Uptown Saturday Night (1974), and was but also eager to again tap into the considerable chemistry displayed therein by Sidney Poitier and Bill Cosby and develop some other amiable buddy farce targeted to urban audiences. Allow'due south Do Information technology Again (1975), recently released on DVD by Warner Domicile Video, barely deviates from the structure of the previous film, but the results remain agreeable enough to show that it was worth returning to the well. The setting this time is inner-city Atlanta, and the dilemma facing milkman Clyde Williams (Poitier) and forklift commuter Baton Foster (Cosby) is the pending condemnation of their neighborhood gild building. Billy's got an audacious scheme for scraping up the payment for a new facility that trades upon Clyde'due south skill every bit an amateur hypnotist. They pack their wives off to New Orleans on the pretext of a holiday, which includes taking in a middleweight championship boxing match. The programme involves entrancing the propped-up, long-shot challenger, a gangling patsy named Bootney Farnsworth (Jimmie Walker), into assertive he's unstoppable, and placing the lodge's funds on his winning the belt. Of course, information technology improbably pays off. Unfortunately, it also gets ultimately figured out by Kansas City Mack (John Amos), the French Quarter ganglord who covered the action on the fight. He has Billy and Clyde dragged back to town so the hapless Bootney can have a few impressive sparring sessions earlier his rematch, and and so exist snapped out of it on fight night, when Mack's money is riding on the challenger. The pair answer with another chancy gambit at getting out live while fooling the heavies. Today, as well as at the time of their release, diverse critics have been dismissive of the Poitier/Cosby comedies as warmed-over Amos 'northward' Andy draped in polyester, and that'south less than fair. They were, and remain, accessible crossover entertainments, that assembled enviable arrays of talented screen performers whose strengths were played to by Poitier every bit managing director. The supporting cast hither is particularly strong, with Denise Nicholas and Lee Chamberlin as the heroes' plucky wives, Ossie Davis as the social club elder, Mel Stuart as Bootney's handler, and Calvin Lockhart as Amos' underworld rival. The opening sequences characteristic brief appearances by George Foreman and Jayne Kennedy as co-workers of Cosby's. Warner provided an uncommonly make clean transfer in its mastering of the DVD, which is presented in an aspect ratio of 1.85:1. The mono audio is likewise clean, but 1 wishes the familiar Curtis Mayfield/Staple Singers soundtrack had been washed meliorate service. The only actress provided is a feature-length commentary by Richard Wesley, the author of the movie's screenplay, and by New York Press critic Armond White. Wesley offers plenty of anecdotes regarding the project's development, and White ably sets out the significance of the product in the context of its times. For more information nigh Let'due south Do It Again, visit Warner Video. To gild Allow's Do It Again, go to TCM Shopping. past Jay S. Steinberg
Quotes
Trivia
Miscellaneous Notes
Released in United States October 1975
Released in United States on Video July 18, 1990
Released in United States Winter Jan 1, 1975
Released in United States Wintertime Jan 1, 1975
Released in United States on Video July 18, 1990
Released in Us October 1975
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Source: http://www.tcm.com/tcmdb/title/16853/lets-do-it-again/
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