Lets Do It Again Movie Download

1975 film by Sidney Poitier

Allow'due south Do It Again
Theatrical release poster by Jack Rickard
Directed by	Sidney Poitier
Screenplay by	Richard Wesley
Story past	Timothy March
Produced by	Melville Tucker
Starring	Sidney Poitier Nib Cosby Calvin Lockhart John Amos Julius Harris Denise Nicholas Lee Chamberlin Mel Stewart Jimmie Walker Ossie Davis
Cinematography	Donald M. Morgan
Edited by	Pembroke J. Herring
Music by	Curtis Mayfield
Color process	Technicolor
Product companies	Beginning Artists Verdon Productions Limited
Distributed past	Warner Bros.
Release date	Oct 11, 1975 (1975-10-11)
Running time	113 minutes
State	The states
Language	English
Box office	$xi.8 million (rentals) [i]

Let's Practise It Again is a 1975 American action crime comedy film directed by and starring Sidney Poitier and co-starring Bill Cosby and Jimmie Walker,^[2] amongst an all-star black cast. The film, directed by Poitier,^[two] is almost bluish-collar workers who decide to rig a boxing match to raise money for their fraternal society. The song of the same name past The Staple Singers was featured every bit the opening and ending theme of the movie, and as a issue, the ii have become unremarkably associated with each other. The production companies include Verdon Productions and The First Artists Production Company, Ltd., and distributed by Warner Bros. The movie was filmed in two cities, Atlanta, Georgia and New Orleans, Louisiana, where most of the plot takes place.^[3] This was the second film pairing of Poitier and Cosby following Uptown Sat Dark, and followed by A Piece of the Action (1977). Of the three, Let'south Do It Again has been the near successful both critically and commercially. Calvin Lockhart and Lee Chamberlin also appeared in Uptown Saturday Night. According to the American Flick Found, Let's Practice Information technology Over again is non a sequel to Uptown Sabbatum Night ^[3]

Plot [edit]

2 friends, Baton Foster (Bill Cosby) and Clyde Williams (Sidney Poitier), need to quickly find a way to raise funds for their congenial lodge, the Sons and Daughters of Shaka.^[four] It is incumbent on Billy to find the money because he is the treasurer of the struggling club. After Billy convinces Clyde that it is their best and quickest option, they decide to bring back a successful money-making scheme, hence the title. Clyde'southward special ability of hypnosis allows the two to set up battle matches and then maximize profits by going all in on the underdog. Baton and Clyde take their talents to New Orleans to rig a boxing match. This is where Jimmie Walker'due south character, Bootney Farnsworth, comes into the fold. Bootney is lanky boxer that is overwhelmed in the initial sparring matches. His difficulty to impress anyone, even his coach, makes the odds of him winning lower by the day. Later watching Bootney struggle, Billy and Clyde are encouraged to go through with their plan. Before the match, they sneak into Bootney's hotel room and hypnotize him, before they hilariously escape. They use what's left of the lodge's upkeep to place their bets with local bookmakers, Kansas City Mack (John Amos) and Biggie Smalls (Calvin Lockhart). The hypnotized Bootney has transformed into a boxing phenomenon and hands defeats the champion, 40th Street Black (Rodolphus Lee Hayden), by KO. After collecting their money and returning to Atlanta to gloat at the lodge, they shortly 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 2 best friends. Once he arrives at the lodge, he makes a deal that would allow the two sides be even. Billy and Clyde must perform exactly the same hypnosis on a boxer, but this time they must collude with Mack. Billy and Clyde concur to the initial deal, but Clyde has a hard time de-hypnotizing Bootney. Bootney, however under hypnosis, has go far likewise quick for Clyde to continue upwards with and de-hypnotize. Unable to enter Farnsworth's preparation 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 beingness a draw, and identify bets with both gangster groups past using their wives, who will not exist recognized. They decide to hypnotize Bootney'due south opponent, in order to capitalize on an outrageous bet no one would retrieve of, a tie. Following the stunning consequence, Billy and Clyde are nowhere to be establish. Outraged, Kansas Metropolis Mack and rival bookmaker, Biggie Smalls, team up in social club to rail the two down. Baton and Clyde atomic number 82 them on a chase that ends upwards at the local police section. Here, the atomic number 82 officer tells the two bookmakers that if he ever hears they have harassed Baton and Clyde or if the two come up upwards missing, they will be thrown in jail for a very long fourth dimension. The moving picture ends with Billy and Clyde taking a motorcar ride. Billy jokes that they should rig a fight involving heavyweight champion, Muhammad Ali and entertainer Sammy Davis Jr.

Bandage [edit]

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

When the film premiered, John Amos and Jimmie Walker were starring equally begetter 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 offset of the 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 film'southward writer, Richard Wesley, also wrote the beginning flick that featured Cosby and Poitier every bit co-stars, Uptown Saturday Night. Wesley's repertoire includes a range of black ability films and plays. Wesley is responsible for a 1971 play Black Terror, which portrayed the story of a black revolution that was to take place in "the very near future" and a 1989 play The Talented Tenth which takes its name from Due west. Eastward. B. Du Bois'south article, "The Talented 10th." Similar Wesley, the picture show's producer, Melville Tucker, besides worked on Uptown Saturday Night. Tucker worked with Poitier prior to both films as well in The Lost Man (1969). The Lost Man is black ability film about group of black militants that hatch a plan to finance their "revolutionary struggle." In society to succeed in this mission, the group conspires to rob a factory.

The DVD contains a commentary feature that includes Richard Wesley and New York Press film critic Armond White. Wesley mentions that the film was important to Poitier's image. The film allowed Poitier to expand his now "distant" image and answer criticism from black militants and the younger generation.^[5] Working with younger actors, like Jimmie Walker, was an important factor in widening Poitier's audience. Jimmie Walker'southward character welcomed Poitier to "new black humor." Wesley also mentions that Pecker Cosby and Sydney Poitier were not the original lead actors he had in mind when writing the script. Instead, he thought of casting Richard Pryor and Redd Foxx. This did not come to fruition, as Warners Bros. wanted actors more known to mainstream America. Pryor and Foxx had some success simply Poitier was seen as a more viable lead actor. In the end, Wesley was pleased with the actors that lead the film, because Poitier and Cosby worked so well together. Wesley points out that the friendship off-screen translated to the picture show. Though, Poitier and Cosby had two very different acting styles, their chemical science 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 actor, producer or director prior to Let's Do It Again.

Themes [edit]

The attire in the movie resembles much of what is seen in the Blaxploitation era. In the DVD's commentary, film critic Armond White points out that the suits were worn by Kansas City Mack and co. to parody Blaxploitation. Extravagant, if non gaudy, suits and aureate jewelry are Blaxploitation staples.^[6] White as well mentions that Bill Cosby satirizes the attire of Blaxploitation in but one scene. Cosby wears a flamboyant blood-red and pink suit in an try to impress prominent bookmaker Kansas City Mack (John Amos). Writer Chris Laverty went into more detail about clothing and their importance in a journal for Arts Illustrated stating, "In a sense it was social progression, the essence of the cocky-made man; readable entirely by what he wears. Narrative was indirectly powered by the coveting of clothes as visual representation of having 'made information technology.'"^[7] Information technology is also worth noting that Mack's entourage has either relaxed hair or a shaved head. Afros are not often seen on the heads of aristocracy African-American businessmen. Afros are Blaxploitation staples and is seen on the head of Pecker Cosby, while Sidney Poitier has a lower cutting.

The role of women in the film was a priority of Wesley. He admitted, in the picture show's commentary, that women were "underutilized" in Uptown Saturday Night. In Permit'due south Exercise it Over again, the meaning others of Billy and Clyde are more than visible throughout the movie and play a larger function in the denouement of the pic. Women are more visible in their relations to other characters too. Wesley points out that an antagonist, Biggie Smalls, has a female head honcho. Mature relationships between black men and women that may take been "soured" by the time was another reason for Wesley increasing the role of women in the flick. Richard wanted to improve the prototype of blackness community. To him, this comeback began in the portrayal of the household. Allow'south Do It Again came at when films that starred powerful, black female person leads, such as Coffy and Foxy Brownish, were being released. Wesley decided to take a different route and use blackness, female characters every bit companions to male leads.

Self-determination is another theme present in the film. The picture show showed characters taking charge of their own lives. This thought that each individual controls their own life is another common theme in the Black Power motility and was central to lectures by Black Ability leaders such as Malcolm X and Martin Luther King Jr.^{[8] [ix]}

Soundtrack [edit]

The soundtrack to the film was put together past globe-renowned musician Curtis Mayfield. Mayfield, also responsible for the highly-successful soundtrack in Super Wing (1972), wrote the music and The Staple Singers performed the songs. The title rails for this picture show entitled, "Let's Do Information technology Again," was a number one hit on both the R&B and Pop charts.^[3] Wesley credited much of the film's success to the success of the song, which was released prior to the film's debut. The music as well 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. "Allow's Do It Again"
2. "Funky Love"
3. "A Whole Lot of Love"
4. "New Orleans"
5. "I Desire to Thanks"
6. "Large Mac"
7. "Afterward Sex"
8. "Chase" (Quinton Joseph, Phillip Upchurch, Gary Thompson, Floyd Morris, Joseph Scott, Mayfield)

Influence in popular culture [edit]

• The late Brooklyn rap artist The Notorious B.I.G. took his alias, Biggie Smalls, from Calvin Lockhart'due south character in this pic. However, the allonym could non be used as his proper name due to ownership issues.
• E Coast rap group Camp Lo named their second album "Permit's Do It Over again" afterwards their debut album was named "Uptown Saturday Night," a reference to the two Cosby and Poitier movies.
• Musician/MTV personality Fonzworth Bentley took his stage name from Jimmie Walker's character, Bootney Farnsworth.^[10]

Reception [edit]

The revenue is listed at $11.8 meg and was i of the highest-grossing films of 1975.^[xi]

Roger Ebert gave information technology 3 out of 4 stars, saying that it "isn't a terribly ambitious comedy, simply within its limitations it works well."^[12] Cistron Siskel too awarded 3 stars out of 4 and wrote, "After making 'Uptown Saturday Dark,' Cosby said that he wasn't satisfied with the picture fifty-fifty though it was selling well. He said he wanted to utilize the same gang and practice information technology again, but ameliorate. That's been accomplished, and in that location's no reason to stop at two. Cosby and Poitier have broad humor down pat; I'd like to see them get witty."^[13] Richard Eder of The New York Times wrote that the action "is familiar stuff, but some of it is pretty funny," and plant Cosby in particular "hilarious."^[xiv] Variety wrote, "The gang from 'Uptown Sat Night' encores successfully in 'Let'due south Practice It Over again,' a funny, gratis-form farcical revue reminiscent in substance of classic Hal Roach comedy."^[fifteen] Kevin Thomas of the Los Angeles Times stated, "At 112 minutes, 'Let'south Do Information technology Again' is extraordinarily long for a comedy, yet its humour is sustained throughout, thanks to Wesley's ingenuity and to the fine ensemble playing of a big bandage nether Poitier's affectionate direction."^[16] Jonathan Rosenbaum of The Monthly Moving-picture show Bulletin wrote, "Despite a frankly nonsensical plot full of formula antics and an unnecessarily protracted running time, Let's Do It Once again is a healthy reminder of the relative verve, free energy and talent to be found nowadays in the then-called 'blackness exploitation' pic—a somewhat loaded term considering the fact that no i ever speaks of 'white exploitation,' and especially inappropriate in relation to such a high-spirited notwithstanding unassuming entertainment as this."^[17]

Rotten Tomatoes gives it a rating of 63% based on reviews from eight critics.^[xviii] The film also won all 5 NAACP Image Awards for which it received a nomination. The film earned $6 million in theatrical rentals in N America.^[19]

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 specifically his babyhood. 40th Street Blackness was the nickname of a kid at a camp Richard'south brother attended. Jimmie Walker's graphic symbol, "Bootney" was another reference to his life. Wesley grew up knowing 2 brothers named "Lil Bootney and Big Bootney." Wesley mentions the two were known as fighters within the customs.

Remake [edit]

Volition Smith and his product company, Overbrook Entertainment, 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 get Eddie Murphy, Martin Lawrence and other famous African-American stars to be in the films.^{[xx] [21]}

Run into also [edit]

• List of American films of 1975

References [edit]

1. ^ Acme 20 Films of 1975 by Domestic Revenue. Box Function Report via Internet Archive. Retrieved September xviii, 2013.
2. ^ ^{a b} "Permit'south Do It Again". Turner Classic Movies . Retrieved May 21, 2016.
3. ^ ^{a b c} "AFI|Itemize". catalog.afi.com . Retrieved 2017-12-08 .
4. ^ "http://world wide web.blackclassicmovies.com/lets-do-it-again/". blackclassicmovies.com . Retrieved 2017-12-08 .
5. ^ Allow's Exercise information technology Again Motion picture Commentary
6. ^ "Costuming the Blaxploitation Hero | Dress on Film". CAMARA DIA HOLLOWAY. 2013-11-19. Retrieved 2017-12-08 .
7. ^ "Blaxploitation Apparel Codes in 1970s Movie house". Dress on Film. 2013-09-twenty. Retrieved 2017-12-08 .
8. ^ "Malcolm X Preaches Black Self-Empowerment". PBS LearningMedia . Retrieved 2017-12-08 .
9. ^ "Martin Luther King Jr.: Leader of Millions in Irenic Bulldoze for Racial Justice". nytimes.com . Retrieved 2017-12-08 .
10. ^ "The Bro'southward Code Interview: Fonzworth Bentley" Archived 2008-10-07 at the Wayback Car, The Bro'southward Lawmaking, July 9, 2008. Retrieved October 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. "Allow'southward Practice It Once more Movie Review (1975) | Roger Ebert". rogerebert.com . Retrieved 2017-12-08 .
13. ^ Siskel, Gene (October 14, 1975). "'Do It Once again': Once more... simply better". Chicago Tribune. Department three, p. 5.
14. ^ Eder, Richard (Oct 13, 1975). "Poitier and Cosby in 'Let'due south Do It Once more,' Black Action Comedy". The New York Times. 31.
15. ^ "Film Reviews: Let's Do It Again". Variety. October 8, 1975. p. 16.
16. ^ Thomas, Kevin (October 13, 1975). "Cosby, Poitier Back in 'Once again'". Los Angeles Times. Role 4, p. one.
17. ^ Rosenbaum, Jonathan (August 1976). "Let's Practice It Again". The Monthly Film Bulletin. 43 (511): 166.
18. ^ "Let'due south Do Information technology Over again". Retrieved 2018-12-08 .
19. ^ "All-time Film Rental Champs", Variety, 7 January 1976 p 46
20. ^ VH1.com : Volition Smith : Will Smith Secures Rights To Sidney Poitier/ Bill Cosby Flicks - Rhapsody Music Downloads
21. ^ Uptown Sabbatum Night (1974) - News

External links [edit]

• Let's Do It Over again at IMDb
• Allow's Do It Over again at the TCM Moving picture Database
• Let'southward Practise It Again at AllMovie
• Let'southward Do Information technology Again at Rotten Tomatoes

butlerrilliall.blogspot.com

Source: https://en.wikipedia.org/wiki/Let%27s_Do_It_Again_%281975_film%29

Share this post