Lets Do It Again (Comedy

1975 picture by Sidney Poitier

Let's Do It Over again
Theatrical release poster by Jack Rickard
Directed past	Sidney Poitier
Screenplay past	Richard Wesley
Story by	Timothy March
Produced past	Melville Tucker
Starring	Sidney Poitier Bill Cosby Calvin Lockhart John Amos Julius Harris Denise Nicholas Lee Chamberlin Mel Stewart Jimmie Walker Ossie Davis
Cinematography	Donald Thousand. Morgan
Edited past	Pembroke J. Herring
Music past	Curtis Mayfield
Color procedure	Technicolor
Production companies	First Artists Verdon Productions Limited
Distributed by	Warner Bros.
Release date	Oct eleven, 1975 (1975-10-11)
Running time	113 minutes
Land	United States
Language	English
Box office	$xi.8 1000000 (rentals) [i]

Allow'due south Do Information technology Again is a 1975 American action criminal offense one-act movie directed by and starring Sidney Poitier and co-starring Neb Cosby and Jimmie Walker,^[2] amid an all-star black bandage. The film, directed by Poitier,^[2] is nearly blueish-neckband workers who decide to rig a battle match to raise money for their fraternal guild. The song of the aforementioned name by The Staple Singers was featured equally the opening and ending theme of the movie, and as a result, the 2 have become commonly associated with each other. The production companies include Verdon Productions and The Outset Artists Production Company, Ltd., and distributed by Warner Bros. The movie was filmed in 2 cities, Atlanta, Georgia and New Orleans, Louisiana, where most of the plot takes place.^[3] This was the 2nd flick pairing of Poitier and Cosby following Uptown Saturday Night, and followed by A Piece of the Action (1977). Of the three, Let'due south Do It Once more has been the nearly successful both critically and commercially. Calvin Lockhart and Lee Chamberlin also appeared in Uptown Saturday Dark. Co-ordinate to the American Motion-picture show Constitute, Let's Do It Again is not a sequel to Uptown Sat Night ^[3]

Plot [edit]

2 friends, Billy Foster (Bill Cosby) and Clyde Williams (Sidney Poitier), need to quickly observe a mode to raise funds for their fraternal lodge, the Sons and Daughters of Shaka.^[iv] Information technology is incumbent on Billy to find the coin because he is the treasurer of the struggling lodge. Afterward Baton convinces Clyde that it is their best and quickest option, they decide to bring dorsum a successful coin-making scheme, hence the championship. Clyde'due south special ability of hypnosis allows the two to gear up battle matches and and so maximize profits past going all in on the underdog. Billy and Clyde take their talents to New Orleans to rig a boxing friction match. This is where Jimmie Walker's character, Bootney Farnsworth, comes into the fold. Bootney is lanky boxer that is overwhelmed in the initial sparring matches. His difficulty to impress anyone, fifty-fifty his double-decker, makes the odds of him winning lower by the twenty-four hours. After watching Bootney struggle, Billy and Clyde are encouraged to get through with their plan. Before the lucifer, they sneak into Bootney'south hotel room and anesthetize him, before they hilariously escape. They use what's left of the lodge's budget to place their bets with local bookmakers, Kansas Metropolis Mack (John Amos) and Biggie Smalls (Calvin Lockhart). The hypnotized Bootney has transformed into a boxing phenomenon and easily defeats the champion, 40th Street Black (Rodolphus Lee Hayden), by KO. Later on collecting their money and returning to Atlanta to gloat at the lodge, they soon receive a visit from Kansas City Mack. Mack grew suspicious of the duo's conveniently-timed bet, and after finally catching on, he spent weeks searching for the two best friends. Once he arrives at the social club, he makes a bargain that would permit the two sides exist even. Baton and Clyde must perform exactly the same hypnosis on a boxer, just this time they must collude with Mack. Billy and Clyde concur to the initial deal, just Clyde has a hard fourth dimension de-hypnotizing Bootney. Bootney, all the same under hypnosis, has become far also quick for Clyde to keep upwards with and de-anesthetize. Unable to enter Farnsworth'south grooming room to dehypnotize him, which in turn would cause him to lose the fight, Williams and Foster make up one's mind to bet on the match existence a describe, and place bets with both gangster groups by using their wives, who will not be recognized. They determine to anesthetize Bootney's opponent, in guild to capitalize on an outrageous bet no 1 would think of, a tie. Post-obit the stunning issue, Baton and Clyde are nowhere to be found. Outraged, Kansas City Mack and rival bookmaker, Biggie Smalls, squad up in club to rails the two downward. Billy and Clyde lead them on a chase that ends up at the local police department. Here, the lead officer tells the two bookmakers that if he ever hears they accept harassed Billy and Clyde or if the two come up missing, they will be thrown in jail for a very long time. The movie ends with Baton and Clyde taking a motorcar ride. Baton jokes that they should rig a fight involving heavyweight champion, Muhammad Ali and entertainer Sammy Davis Jr.

Bandage [edit]

• Sidney Poitier as Clyde Williams
• Bill Cosby as Billy Foster
• Calvin Lockhart as "Biggie" Smalls
• John Amos as Mack "Kansas City Mack"
• Jimmie Walker as "Bootney" Farnsworth
• Ossie Davis as Elderberry Johnson
• Denise Nicholas as Beth Foster
• Lee Chamberlin as Dee Dee Williams
• Mel Stewart as Ellison
• Julius Harris equally "Bubbletop" Woodson
• Billy Eckstine as Zack
• Paul Harris equally Jody Tipps
• Rodolphus Lee Hayden as 40th Street Black

When the film premiered, John Amos and Jimmie Walker were starring as father and son in the CBS sitcom Good Times. George Foreman makes a cameo appearance equally a factory worker who challenges Billy to a fight in the beginning of the moving picture. Jayne Kennedy also makes a cameo during the opening credits equally the cute Girl at the Factory that Billy is looking at when he crashes his forklift.

Background [edit]

The movie'due south writer, Richard Wesley, too wrote the outset film that featured Cosby and Poitier as co-stars, Uptown Sabbatum Night. Wesley'south repertoire includes a range of black power films and plays. Wesley is responsible for a 1971 play Black Terror, which portrayed the story of a blackness revolution that was to take identify in "the very virtually future" and a 1989 play The Talented 10th which takes its name from W. E. B. Du Bois's article, "The Talented Tenth." Similar Wesley, the motion-picture show's producer, Melville Tucker, too worked on Uptown Saturday Dark. Tucker worked with Poitier prior to both films as well in The Lost Man (1969). The Lost Man is black power film about grouping of black militants that hatch a plan to finance their "revolutionary struggle." In order to succeed in this mission, the group conspires to rob a factory.

The DVD contains a commentary characteristic that includes Richard Wesley and New York Press film critic Armond White. Wesley mentions that the film was important to Poitier's image. The pic immune Poitier to aggrandize his at present "afar" image and answer criticism from black militants and the younger generation.^[5] Working with younger actors, like Jimmie Walker, was an of import gene in widening Poitier's audience. Jimmie Walker's character welcomed Poitier to "new black humor." Wesley also mentions that Nib Cosby and Sydney Poitier were not the original lead actors he had in mind when writing the script. Instead, he idea of casting Richard Pryor and Redd Foxx. This did not come to fruition, every bit Warners Bros. wanted actors more known to mainstream America. Pryor and Foxx had some success but Poitier was seen as a more than viable lead actor. In the terminate, Wesley was pleased with the actors that pb the picture, because Poitier and Cosby worked then well together. Wesley points out that the friendship off-screen translated to the moving picture. Though, Poitier and Cosby had two very different acting styles, their chemistry was what boosted the script. Cosby and Poitier were joined past other actors that worked together previously. John Amos, Jimmie Walker, and Mel Stewart had all worked with an thespian, producer or director prior to Let's Practice It Again.

Themes [edit]

The attire in the film resembles much of what is seen in the Blaxploitation era. In the DVD'southward commentary, film critic Armond White points out that the suits were worn past Kansas City Mack and co. to parody Blaxploitation. Improvident, if not gaudy, suits and aureate jewelry are Blaxploitation staples.^[vi] White also mentions that Nib Cosby satirizes the attire of Blaxploitation in just one scene. Cosby wears a flamboyant red and pink accommodate in an attempt to impress prominent bookmaker Kansas City Mack (John Amos). Writer Chris Laverty went into more detail about clothing and their importance in a periodical for Arts Illustrated stating, "In a sense information technology was social progression, the essence of the cocky-made man; readable entirely by what he wears. Narrative was indirectly powered by the appetent of clothes equally visual representation of having 'made information technology.'"^[7] It is also worth noting that Mack'south entourage has either relaxed pilus or a shaved head. Afros are not ofttimes seen on the heads of aristocracy African-American businessmen. Afros are Blaxploitation staples and is seen on the head of Bill Cosby, while Sidney Poitier has a lower cut.

The office of women in the film was a priority of Wesley. He admitted, in the flick'southward commentary, that women were "underutilized" in Uptown Sat Night. In Let'south Do it Over again, the significant others of Billy and Clyde are more visible throughout the movie and play a larger function in the denouement of the film. Women are more visible in their relations to other characters too. Wesley points out that an adversary, Biggie Smalls, has a female person head honcho. Mature relationships between blackness men and women that may have been "soured" past the time was another reason for Wesley increasing the office of women in the film. Richard wanted to ameliorate the image of black customs. To him, this comeback began in the portrayal of the household. Let's Do Information technology Once more came at when films that starred powerful, black female leads, such as Coffy and Foxy Brown, were existence released. Wesley decided to have a different road and apply black, female characters as companions to male person leads.

Self-determination is another theme present in the picture. The film showed characters taking charge of their own lives. This idea that each private controls their own life is some other common theme in the Black Power motion and was cardinal to lectures by Blackness Ability leaders such equally Malcolm 10 and Martin Luther King Jr.^{[eight] [nine]}

Soundtrack [edit]

The soundtrack to the moving picture was put together by earth-renowned musician Curtis Mayfield. Mayfield, also responsible for the highly-successful soundtrack in Super Fly (1972), wrote the music and The Staple Singers performed the songs. The title track for this movie entitled, "Permit's Do It Again," was a number one hitting on both the R&B and Pop charts.^[3] Wesley credited much of the film'due south success to the success of the song, which was released prior to the film'southward debut. The music also resembles much of what is seen in Blaxploitation. Upbeat funk with horns and syncopated drum beats are heard in black cinema films throughout the 1960s-1970's.

1. "Let's Practise Information technology Again"
2. "Funky Love"
3. "A Whole Lot of Dear"
4. "New Orleans"
5. "I Desire to Cheers"
6. "Large Mac"
7. "Later Sex"
8. "Hunt" (Quinton Joseph, Phillip Upchurch, Gary Thompson, Floyd Morris, Joseph Scott, Mayfield)

Influence in popular civilization [edit]

• The late Brooklyn rap creative person The Notorious B.I.Thou. took his alias, Biggie Smalls, from Calvin Lockhart'due south graphic symbol in this film. However, the alias could not be used equally his name due to buying issues.
• East Declension rap group Camp Lo named their second album "Let's Do Information technology Again" subsequently their debut album was named "Uptown Sat Night," a reference to the two Cosby and Poitier movies.
• Musician/MTV personality Fonzworth Bentley took his stage name from Jimmie Walker's grapheme, Bootney Farnsworth.^[ten]

Reception [edit]

The revenue is listed at $11.8 1000000 and was one of the highest-grossing films of 1975.^[11]

Roger Ebert gave it 3 out of 4 stars, saying that it "isn't a terribly ambitious one-act, but within its limitations it works well."^[12] Gene Siskel as well awarded 3 stars out of 4 and wrote, "After making 'Uptown Saturday Night,' Cosby said that he wasn't satisfied with the picture even though it was selling well. He said he wanted to use the same gang and practise it once more, simply better. That's been achieved, and there'southward no reason to stop at two. Cosby and Poitier have broad humor down pat; I'd like to encounter them go witty."^[13] Richard Eder of The New York Times wrote that the activeness "is familiar stuff, but some of it is pretty funny," and found Cosby in particular "hilarious."^[14] Variety wrote, "The gang from 'Uptown Sabbatum Night' encores successfully in 'Let's Do It Once again,' a funny, free-form farcical revue reminiscent in substance of classic Hal Roach comedy."^[xv] Kevin Thomas of the Los Angeles Times stated, "At 112 minutes, 'Let's Do Information technology Once more' is extraordinarily long for a comedy, notwithstanding its humor is sustained throughout, thanks to Wesley's ingenuity and to the fine ensemble playing of a large cast under Poitier's affectionate direction."^[16] Jonathan Rosenbaum of The Monthly Film Bulletin wrote, "Despite a bluntly nonsensical plot full of formula antics and an unnecessarily protracted running time, Let'due south Do It Over again is a salubrious reminder of the relative verve, energy and talent to exist found nowadays in the so-called 'black exploitation' film—a somewhat loaded term because the fact that no one ever speaks of 'white exploitation,' and particularly inappropriate in relation to such a loftier-spirited nevertheless unassuming entertainment as this."^[17]

Rotten Tomatoes gives it a rating of 63% based on reviews from 8 critics.^[18] The picture likewise won all v NAACP Prototype Awards for which it received a nomination. The film earned $half-dozen 1000000 in theatrical rentals in Northward America.^[nineteen]

References to Richard Wesley's Life [edit]

In the DVD's commentary, Wesley admits that several scenes and characters are references to his life, more than specifically his childhood. 40th Street Black was the nickname of a kid at a camp Richard's blood brother attended. Jimmie Walker's character, "Bootney" was another reference to his life. Wesley grew up knowing ii brothers named "Lil Bootney and Big Bootney." Wesley mentions the two were known equally fighters within the community.

Remake [edit]

Will Smith and his product company, Overbrook Amusement, secured the rights in 2002 to the trilogy for remakes to star Smith and to be distributed by Warner Bros. Smith stated that he hoped to go Eddie Irish potato, Martin Lawrence and other famous African-American stars to be in the films.^{[twenty] [21]}

See also [edit]

• List of American films of 1975

References [edit]

1. ^ Summit 20 Films of 1975 by Domestic Acquirement. Box Function Study via Internet Archive. Retrieved September 18, 2013.
2. ^ ^{a b} "Let'southward Exercise It Again". Turner Archetype Movies . Retrieved May 21, 2016.
3. ^ ^{a b c} "AFI|Catalog". catalog.afi.com . Retrieved 2017-12-08 .
4. ^ "http://www.blackclassicmovies.com/lets-do-it-again/". blackclassicmovies.com . Retrieved 2017-12-08 .
5. ^ Let's Practice it Over again Film Commentary
6. ^ "Costuming the Blaxploitation Hero | Clothes on Film". CAMARA DIA HOLLOWAY. 2013-11-nineteen. Retrieved 2017-12-08 .
7. ^ "Blaxploitation Wearing apparel Codes in 1970s Movie theater". Clothes on Pic. 2013-09-20. Retrieved 2017-12-08 .
8. ^ "Malcolm 10 Preaches Black Self-Empowerment". PBS LearningMedia . Retrieved 2017-12-08 .
9. ^ "Martin Luther King Jr.: Leader of Millions in Nonviolent Drive for Racial Justice". nytimes.com . Retrieved 2017-12-08 .
10. ^ "The Bro'south Code Interview: Fonzworth Bentley" Archived 2008-x-07 at the Wayback Machine, The Bro's Code, July 9, 2008. Retrieved Oct 24, 2009.
11. ^ "Box Office Report - Acquirement Database - 1975". 2008-06-05. Archived from the original on 2008-06-05. Retrieved 2017-12-08 .
12. ^ Ebert, Roger. "Let's Do It Once again Movie Review (1975) | Roger Ebert". rogerebert.com . Retrieved 2017-12-08 .
13. ^ Siskel, Gene (October 14, 1975). "'Practise Information technology Again': Once more than... only ameliorate". Chicago Tribune. Section iii, p. 5.
14. ^ Eder, Richard (October 13, 1975). "Poitier and Cosby in 'Permit's Do It Again,' Black Action Comedy". The New York Times. 31.
15. ^ "Film Reviews: Let'due south Exercise It Again". Variety. October viii, 1975. p. 16.
16. ^ Thomas, Kevin (October 13, 1975). "Cosby, Poitier Back in 'Again'". Los Angeles Times. Office IV, p. one.
17. ^ Rosenbaum, Jonathan (Baronial 1976). "Let's Practise It Again". The Monthly Film Bulletin. 43 (511): 166.
18. ^ "Allow's Do It Once more". Retrieved 2018-12-08 .
19. ^ "All-time Moving-picture show Rental Champs", Variety, vii Jan 1976 p 46
20. ^ VH1.com : Volition Smith : Will Smith Secures Rights To Sidney Poitier/ Bill Cosby Flicks - Rhapsody Music Downloads
21. ^ Uptown Saturday Night (1974) - News

External links [edit]

• Allow's Practise It Again at IMDb
• Let'due south Do It Over again at the TCM Movie Database
• Let's Practise It Again at AllMovie
• Let's Practice Information technology Again at Rotten Tomatoes

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Source: https://en.wikipedia.org/wiki/Let%27s_Do_It_Again_(1975_film)

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