Lets Do It Again Movie Script

1975 film by Sidney Poitier

Allow's Do It Once more
Theatrical release poster past Jack Rickard
Directed by	Sidney Poitier
Screenplay by	Richard Wesley
Story by	Timothy March
Produced by	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 M. Morgan
Edited by	Pembroke J. Herring
Music past	Curtis Mayfield
Color process	Technicolor
Product companies	First Artists Verdon Productions Limited
Distributed past	Warner Bros.
Release engagement	October 11, 1975 (1975-10-11)
Running time	113 minutes
Country	United states of america
Language	English
Box part	$11.8 meg (rentals) [one]

Permit's Do It Again is a 1975 American action criminal offence comedy film directed by and starring Sidney Poitier and co-starring Beak Cosby and Jimmie Walker,^[2] among an all-star black bandage. The moving picture, directed by Poitier,^[2] is about blue-collar workers who decide to rig a boxing match to raise money for their fraternal gild. The song of the aforementioned proper noun by The Staple Singers was featured equally the opening and ending theme of the motion-picture show, and as a result, the two have become commonly associated with each other. The production companies include Verdon Productions and The Showtime Artists Production Company, Ltd., and distributed by Warner Bros. The movie was filmed in two cities, Atlanta, Georgia and New Orleans, Louisiana, where nigh of the plot takes place.^[three] This was the second film pairing of Poitier and Cosby post-obit Uptown Saturday Dark, and followed past A Piece of the Action (1977). Of the iii, Allow'due south Do It Again has been the almost successful both critically and commercially. Calvin Lockhart and Lee Chamberlin also appeared in Uptown Saturday Nighttime. According to the American Film Institute, Let'south Do Information technology Once again is not a sequel to Uptown Saturday Night.^[3]

Plot [edit]

2 friends, Billy Foster (Bill Cosby) and Clyde Williams (Sidney Poitier), need to rapidly find a way to enhance funds for their fraternal lodge, the Sons and Daughters of Shaka.^[iv] It is incumbent on Billy to discover the coin because he is the treasurer of the struggling lodge. Later Baton convinces Clyde that it is their best and quickest choice, they decide to bring back a successful money-making scheme, hence the title. Clyde's special ability of hypnosis allows the two to set up boxing matches and and then maximize profits by going all in on the underdog. Baton and Clyde take their talents to New Orleans to rig a boxing lucifer. 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 bus, 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. Earlier the friction match, they sneak into Bootney's hotel room and hypnotize him, before they hilariously escape. They use what'south 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 battle phenomenon and hands defeats the champion, 40th Street Black (Rodolphus Lee Hayden), by KO. After collecting their money and returning to Atlanta to celebrate at the society, they soon receive a visit from Kansas Metropolis Mack. Mack grew suspicious of the duo's conveniently-timed bet, and after finally catching on, he spent weeks searching for the two all-time 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 hold to the initial deal, but Clyde has a hard time de-hypnotizing Bootney. Bootney, still under hypnosis, has go far too quick for Clyde to go along up with and de-anesthetize. Unable to enter Farnsworth's preparation room to dehypnotize him, which in plow would cause him to lose the fight, Williams and Foster decide to bet on the friction match existence a describe, and place bets with both gangster groups by using their wives, who will not be recognized. They make up one's mind to anesthetize Bootney's opponent, in order to capitalize on an outrageous bet no 1 would think of, a tie. Following the stunning outcome, Billy and Clyde are nowhere to be found. Outraged, Kansas City Mack and rival bookmaker, Biggie Smalls, squad up in order to track the two down. Billy and Clyde lead them on a chase that ends upwardly at the local law department. Here, the lead officer tells the ii bookmakers that if he ever hears they take harassed Billy and Clyde or if the 2 come up up missing, they volition be thrown in jail for a very long time. The movie ends with Billy and Clyde taking a car ride. Baton jokes that they should rig a fight involving heavyweight champion, Muhammad Ali and entertainer Sammy Davis Jr.

Cast [edit]

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

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

Background [edit]

The flick's author, Richard Wesley, too wrote the first picture that featured Cosby and Poitier every bit co-stars, Uptown Saturday Nighttime. Wesley's 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 black revolution that was to take identify in "the very near future" and a 1989 play The Talented 10th which takes its name from W. Eastward. B. Du Bois'south commodity, "The Talented Tenth." Like Wesley, the film'southward producer, Melville Tucker, too worked on Uptown Saturday Night. Tucker worked with Poitier prior to both films as well in The Lost Human (1969). The Lost Human being is black power movie most group of blackness militants that hatch a programme to finance their "revolutionary struggle." In lodge 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 motion picture was of import to Poitier's image. The film allowed Poitier to expand his at present "distant" epitome and reply criticism from black militants and the younger generation.^[five] Working with younger actors, like Jimmie Walker, was an of import gene in widening Poitier's audience. Jimmie Walker'south character welcomed Poitier to "new black sense of humour." Wesley also mentions that Bill Cosby and Sydney Poitier were not the original atomic number 82 actors he had in listen when writing the script. Instead, he thought of casting Richard Pryor and Redd Foxx. This did non come up to fruition, as Warners Bros. wanted actors more known to mainstream America. Pryor and Foxx had some success only Poitier was seen as a more viable lead histrion. In the end, Wesley was pleased with the actors that lead the movie, considering Poitier and Cosby worked and so well together. Wesley points out that the friendship off-screen translated to the film. Though, Poitier and Cosby had two very different interim styles, their chemical science was what boosted the script. Cosby and Poitier were joined by other actors that worked together previously. John Amos, Jimmie Walker, and Mel Stewart had all worked with an actor, producer or manager prior to Let's Do Information technology Once again.

Themes [edit]

The attire in the moving-picture show resembles much of what is seen in the Blaxploitation era. In the DVD'south commentary, picture show critic Armond White points out that the suits were worn by Kansas City Mack and co. to parody Blaxploitation. Extravagant, if not gaudy, suits and gold jewelry are Blaxploitation staples.^{[half dozen]} White as well mentions that Bill Cosby satirizes the attire of Blaxploitation in only ane scene. Cosby wears a flamboyant red and pink suit in an attempt to impress prominent bookmaker Kansas City Mack (John Amos). Writer Chris Laverty went into more particular about wear and their importance in a periodical for Arts Illustrated stating, "In a sense information technology was social progression, the essence of the cocky-made human; readable entirely by what he wears. Narrative was indirectly powered by the coveting of clothes as visual representation of having 'made it.'"^[seven] Information technology is also worth noting that Mack'south entourage has either relaxed hair or a shaved head. Afros are not often seen on the heads of elite 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 motion picture's commentary, that women were "underutilized" in Uptown Saturday Night. In Let's Do information technology Once again, the significant others of Billy and Clyde are more visible throughout the movie and play a larger role in the denouement of the motion-picture show. Women are more visible in their relations to other characters as well. Wesley points out that an antagonist, Biggie Smalls, has a female caput honcho. Mature relationships between black men and women that may accept been "soured" by the time was another reason for Wesley increasing the function of women in the film. Richard wanted to improve the image of black customs. To him, this improvement began in the portrayal of the household. Allow's Practice It Once again came at when films that starred powerful, blackness female leads, such every bit Coffy and Foxy Brownish, were being released. Wesley decided to take a unlike road and use black, female characters as companions to male person leads.

Cocky-determination is another theme nowadays in the picture show. The film showed characters taking accuse of their own lives. This idea that each individual controls their own life is another common theme in the Blackness Power movement and was primal to lectures by Blackness Power leaders such as Malcolm X and Martin Luther King Jr.^{[viii] [ix]}

Soundtrack [edit]

The soundtrack to the film was put together by world-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 rail for this film entitled, "Let'due south Practice It Again," was a number one hit on both the R&B and Pop charts.^[three] Wesley credited much of the film's success to the success of the song, which was released prior to the moving picture'due south debut. The music also resembles much of what is seen in Blaxploitation. Upbeat funk with horns and syncopated pulsate beats are heard in black cinema films throughout the 1960s-1970's.

1. "Permit'due south Do It Again"
2. "Funky Love"
3. "A Whole Lot of Love"
4. "New Orleans"
5. "I Want to Thank Yous"
6. "Large Mac"
7. "After Sex activity"
8. "Chase" (Quinton Joseph, Phillip Upchurch, Gary Thompson, Floyd Morris, Joseph Scott, Mayfield)

Influence in pop civilization [edit]

• The tardily Brooklyn rap artist The Notorious B.I.1000. took his alias, Biggie Smalls, from Calvin Lockhart's grapheme in this pic. All the same, the alias could not be used as his proper noun due to ownership issues.
• East Coast rap group Camp Lo named their 2nd album "Let'due south Practice It Over 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 character, Bootney Farnsworth.^[ten]

Reception [edit]

The revenue is listed at $xi.8 million 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 aggressive one-act, but within its limitations information technology works well."^[12] Gene Siskel likewise awarded three stars out of 4 and wrote, "Afterwards making 'Uptown Sabbatum Night,' Cosby said that he wasn't satisfied with the motion picture even though it was selling well. He said he wanted to use the aforementioned gang and do it once more than, but better. That'south been accomplished, and there'due south no reason to terminate at ii. Cosby and Poitier have wide sense of humor downwardly pat; I'd similar to see them become 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 Saturday Dark' encores successfully in 'Allow'south Practice It Again,' a funny, free-form farcical revue reminiscent in substance of classic Hal Roach comedy."^[15] Kevin Thomas of the Los Angeles Times stated, "At 112 minutes, 'Permit'southward Do Information technology Again' is extraordinarily long for a comedy, yet its sense of humor is sustained throughout, thanks to Wesley's ingenuity and to the fine ensemble playing of a large cast under Poitier's appreciating management."^[xvi] Jonathan Rosenbaum of The Monthly Flick Bulletin wrote, "Despite a bluntly nonsensical plot full of formula antics and an unnecessarily protracted running time, Let's Exercise Information technology Again is a healthy reminder of the relative verve, energy and talent to exist found nowadays in the then-called 'black exploitation' motion picture—a somewhat loaded term considering the fact that no ane ever speaks of 'white exploitation,' and peculiarly inappropriate in relation to such a high-spirited yet unassuming entertainment as this."^[17]

Rotten Tomatoes gives information technology a rating of 63% based on reviews from eight critics.^[18] The film also won all v NAACP Image Awards for which information technology received a nomination. The film earned $six million in theatrical rentals in North America.^[19]

References to Richard Wesley'south Life [edit]

In the DVD'southward 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's brother attended. Jimmie Walker'due south character, "Bootney" was another reference to his life. Wesley grew up knowing 2 brothers named "Lil Bootney and Big Bootney." Wesley mentions the 2 were known every bit fighters within the community.

Remake [edit]

Volition Smith and his production company, Overbrook Entertainment, secured the rights in 2002 to the trilogy for remakes to star Smith and to exist 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]}

See also [edit]

• Listing of American films of 1975

References [edit]

1. ^ Top 20 Films of 1975 by Domestic Acquirement. Box Part Written report via Net Archive. Retrieved September 18, 2013.
2. ^ ^{a b} "Allow'southward Do It Once again". Turner Classic 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 Do it Again Film Commentary
6. ^ "Costuming the Blaxploitation Hero | Clothes on Flick". CAMARA DIA HOLLOWAY. 2013-11-19. Retrieved 2017-12-08 .
7. ^ "Blaxploitation Apparel Codes in 1970s Cinema". Wearing apparel on Film. 2013-09-20. Retrieved 2017-12-08 .
8. ^ "Malcolm X Preaches Black Cocky-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's Code Interview: Fonzworth Bentley" Archived 2008-ten-07 at the Wayback Motorcar, The Bro's Lawmaking, July 9, 2008. Retrieved October 24, 2009.
11. ^ "Box Role Report - Revenue Database - 1975". 2008-06-05. Archived from the original on 2008-06-05. Retrieved 2017-12-08 .
12. ^ Ebert, Roger. "Let'south Do It Again Movie Review (1975) | Roger Ebert". rogerebert.com . Retrieved 2017-12-08 .
13. ^ Siskel, Gene (October fourteen, 1975). "'Do It Once more': Once more... but amend". Chicago Tribune. Section 3, p. five.
14. ^ Eder, Richard (October 13, 1975). "Poitier and Cosby in 'Let's Do It Again,' Black Action One-act". The New York Times. 31.
15. ^ "Film Reviews: Permit'south Do It Once more". Diverseness. October 8, 1975. p. sixteen.
16. ^ Thomas, Kevin (October 13, 1975). "Cosby, Poitier Dorsum in 'Again'". Los Angeles Times. Part Four, p. one.
17. ^ Rosenbaum, Jonathan (August 1976). "Permit's Practice It Again". The Monthly Film Bulletin. 43 (511): 166.
18. ^ "Allow's Practice It Over again". Retrieved 2018-12-08 .
19. ^ "All-time Film Rental Champs", Variety, vii January 1976 p 46
20. ^ VH1.com : Volition Smith : Volition Smith Secures Rights To Sidney Poitier/ Neb Cosby Flicks - Rhapsody Music Downloads
21. ^ Uptown Sabbatum Night (1974) - News

External links [edit]

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

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