Bill Cosby Lets Do It Again Full Movie

1975 film by Sidney Poitier

Let'southward Do It Again
Theatrical release poster by 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
Colour process	Technicolor
Production companies	Beginning Artists Verdon Productions Express
Distributed past	Warner Bros.
Release date	Oct eleven, 1975 (1975-ten-eleven)
Running fourth dimension	113 minutes
Country	United States
Linguistic communication	English
Box office	$11.8 million (rentals) [1]

Allow'southward Do It Again is a 1975 American action crime one-act movie directed by and starring Sidney Poitier and co-starring Bill Cosby and Jimmie Walker,^[2] among an all-star black cast. The film, directed by Poitier,^[2] is about blue-collar workers who decide to rig a boxing match to heighten money for their fraternal order. The song of the same name past The Staple Singers was featured equally the opening and ending theme of the pic, and as a event, the two have become commonly associated with each other. The production companies include Verdon Productions and The First Artists Production Visitor, Ltd., and distributed past 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 second picture pairing of Poitier and Cosby following Uptown Saturday Nighttime, and followed by A Piece of the Action (1977). Of the 3, Permit's Practice It Again has been the nigh successful both critically and commercially. Calvin Lockhart and Lee Chamberlin also appeared in Uptown Sabbatum Night. According to the American Pic Institute, Let's Do It Again is non a sequel to Uptown Saturday Night.^[3]

Plot [edit]

Ii friends, Billy Foster (Pecker Cosby) and Clyde Williams (Sidney Poitier), demand to speedily find a fashion to raise funds for their congenial club, the Sons and Daughters of Shaka.^[4] Information technology is incumbent on Billy to find the money because he is the treasurer of the struggling lodge. Later on Billy convinces Clyde that it is their all-time and quickest option, they make up one's mind to bring back a successful money-making scheme, hence the title. Clyde'southward special power of hypnosis allows the two to set up boxing matches and and so maximize profits by going all in on the underdog. Billy and Clyde accept 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 jitney, makes the odds of him winning lower past the twenty-four hour period. After watching Bootney struggle, Billy and Clyde are encouraged to get through with their plan. Before the lucifer, they sneak into Bootney's hotel room and hypnotize him, before they hilariously escape. They use what's left of the lodge'southward budget to place their bets with local bookmakers, Kansas Urban center Mack (John Amos) and Biggie Smalls (Calvin Lockhart). The hypnotized Bootney has transformed into a battle phenomenon and easily defeats the champion, 40th Street Black (Rodolphus Lee Hayden), by KO. After collecting their money and returning to Atlanta to celebrate at the lodge, they soon receive a visit from Kansas City Mack. Mack grew suspicious of the duo'due south conveniently-timed bet, and later finally communicable on, he spent weeks searching for the two best friends. Once he arrives at the gild, he makes a deal that would permit the ii sides exist even. Billy and Clyde must perform exactly the same hypnosis on a boxer, only this time they must collude with Mack. Billy and Clyde agree to the initial deal, but Clyde has a hard time de-hypnotizing Bootney. Bootney, still under hypnosis, has get far besides quick for Clyde to keep up with and de-hypnotize. Unable to enter Farnsworth'southward training room to dehypnotize him, which in turn would cause him to lose the fight, Williams and Foster determine to bet on the match being a describe, and place bets with both gangster groups by using their wives, who will not be recognized. They decide to hypnotize Bootney'southward opponent, in lodge to capitalize on an outrageous bet no one would think of, a necktie. Post-obit the stunning consequence, Billy and Clyde are nowhere to exist 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 up at the local police force department. Here, the lead officer tells the two bookmakers that if he ever hears they have harassed Billy and Clyde or if the 2 come missing, they will exist thrown in jail for a very long fourth dimension. The movie ends with Baton and Clyde taking a car ride. Billy 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 Billy Foster
• Calvin Lockhart as "Biggie" Smalls
• John Amos as Mack "Kansas City Mack"
• Jimmie Walker as "Bootney" Farnsworth
• Ossie Davis every bit Elder Johnson
• Denise Nicholas as Beth Foster
• Lee Chamberlin as Dee Dee Williams
• Mel Stewart as Ellison
• Julius Harris every bit "Bubbletop" Woodson
• Baton Eckstine as Zack
• Paul Harris as Jody Tipps
• Rodolphus Lee Hayden equally 40th Street Black

When the moving picture premiered, John Amos and Jimmie Walker were starring as father and son in the CBS sitcom Good Times. George Foreman makes a cameo appearance every bit a manufactory worker who challenges Billy to a fight in the beginning of the movie. Jayne Kennedy too makes a cameo during the opening credits every bit the beautiful Girl at the Manufactory that Billy is looking at when he crashes his forklift.

Groundwork [edit]

The film's author, Richard Wesley, likewise wrote the outset picture that featured Cosby and Poitier every bit co-stars, Uptown Saturday Dark. 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 place in "the very about futurity" and a 1989 play The Talented Tenth which takes its name from W. E. B. Du Bois'south article, "The Talented Tenth." Like Wesley, the picture's producer, Melville Tucker, too worked on Uptown Saturday Night. Tucker worked with Poitier prior to both films as well in The Lost Homo (1969). The Lost Human being is blackness power film nigh group 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 feature that includes Richard Wesley and New York Press film critic Armond White. Wesley mentions that the picture was important to Poitier'due south image. The film allowed Poitier to expand his now "distant" prototype and answer criticism from blackness militants and the younger generation.^[v] Working with younger actors, like Jimmie Walker, was an of import factor in widening Poitier's audition. Jimmie Walker's character welcomed Poitier to "new black humor." Wesley too mentions that Bill Cosby and Sydney Poitier were not the original pb actors he had in mind when writing the script. Instead, he idea of casting Richard Pryor and Redd Foxx. This did not come up to fruition, as Warners Bros. wanted actors more known to mainstream America. Pryor and Foxx had some success but Poitier was seen as a more feasible atomic number 82 actor. In the finish, Wesley was pleased with the actors that lead the film, considering Poitier and Cosby worked so well together. Wesley points out that the friendship off-screen translated to the picture. Though, Poitier and Cosby had two very different acting 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 managing director prior to Let'southward Practise It Once again.

Themes [edit]

The attire in the film resembles much of what is seen in the Blaxploitation era. In the DVD's commentary, flick critic Armond White points out that the suits were worn by Kansas City Mack and co. to parody Blaxploitation. Improvident, if not gaudy, suits and gold jewelry are Blaxploitation staples.^[half-dozen] White likewise mentions that Bill Cosby satirizes the attire of Blaxploitation in just one scene. Cosby wears a flamboyant red and pink conform in an attempt to impress prominent bookmaker Kansas City Mack (John Amos). Author Chris Laverty went into more detail about article of clothing and their importance in a journal for Arts Illustrated stating, "In a sense it was social progression, the essence of the cocky-made human; readable entirely past what he wears. Narrative was indirectly powered by the coveting of clothes as visual representation of having 'made it.'"^[vii] It is as well worth noting that Mack's 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 role of women in the film was a priority of Wesley. He admitted, in the film's commentary, that women were "underutilized" in Uptown Saturday Night. In Let'due south Do it Again, the significant others of Baton and Clyde are more than visible throughout the movie and play a larger role in the denouement of the moving picture. Women are more visible in their relations to other characters besides. Wesley points out that an antagonist, Biggie Smalls, has a female head honcho. Mature relationships between black men and women that may have been "soured" past the time was another reason for Wesley increasing the part 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. Let's Do Information technology Again came at when films that starred powerful, black female leads, such every bit Coffy and Foxy Brown, were being released. Wesley decided to take a unlike route and use blackness, female characters every bit companions to male leads.

Self-determination is some other theme present in the motion picture. The film showed characters taking charge of their own lives. This idea that each private controls their own life is another mutual theme in the Black Power movement and was central to lectures by Black Power leaders such equally Malcolm X and Martin Luther King Jr.^{[8] [ix]}

Soundtrack [edit]

The soundtrack to the film was put together past earth-renowned musician Curtis Mayfield. Mayfield, as well responsible for the highly-successful soundtrack in Super Fly (1972), wrote the music and The Staple Singers performed the songs. The championship rails for this movie entitled, "Let's Do It Again," was a number i hit on both the R&B and Pop charts.^[3] Wesley credited much of the film'south success to the success of the vocal, which was released prior to the moving-picture show'southward debut. The music too 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. "Permit's Practice Information technology Again"
2. "Funky Honey"
3. "A Whole Lot of Love"
4. "New Orleans"
5. "I Want to Give thanks You"
6. "Big Mac"
7. "Afterward Sex"
8. "Hunt" (Quinton Joseph, Phillip Upchurch, Gary Thompson, Floyd Morris, Joseph Scott, Mayfield)

Influence in pop civilisation [edit]

• The late Brooklyn rap artist The Notorious B.I.G. took his alias, Biggie Smalls, from Calvin Lockhart's graphic symbol in this flick. Even so, the alias could not be used as his proper noun due to ownership problems.
• Eastward Coast rap group Camp Lo named their 2d album "Let's Do It Over again" after their debut album was named "Uptown Saturday Nighttime," 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.eight 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 ambitious comedy, but within its limitations it works well."^[12] Gene Siskel also awarded 3 stars out of 4 and wrote, "After making 'Uptown Sabbatum Nighttime,' Cosby said that he wasn't satisfied with the picture even though information technology was selling well. He said he wanted to use the same gang and do it once more, but better. That's been accomplished, and there'south no reason to cease at two. Cosby and Poitier have broad humor down pat; I'd similar to see them get witty."^[13] Richard Eder of The New York Times wrote that the activeness "is familiar stuff, just some of it is pretty funny," and found Cosby in particular "hilarious."^[14] Variety wrote, "The gang from 'Uptown Saturday Night' encores successfully in 'Let's Practice It Over 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'southward Practise Information technology Again' is extraordinarily long for a comedy, yet its humour is sustained throughout, thank you to Wesley'due south ingenuity and to the fine ensemble playing of a large cast under Poitier'southward appreciating direction."^[16] Jonathan Rosenbaum of The Monthly Film Bulletin wrote, "Despite a frankly nonsensical plot full of formula antics and an unnecessarily protracted running time, Let's Do It Again is a salubrious reminder of the relative verve, energy and talent to be establish nowadays in the so-called 'blackness exploitation' movie—a somewhat loaded term because the fact that no one ever speaks of 'white exploitation,' and particularly inappropriate in relation to such a high-spirited even so unassuming amusement equally this."^[17]

Rotten Tomatoes gives information technology a rating of 63% based on reviews from eight critics.^[eighteen] The film also won all 5 NAACP Image Awards for which it received a nomination. The picture show earned $six meg in theatrical rentals in Due north 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 specifically his babyhood. 40th Street Blackness was the nickname of a kid at a camp Richard's brother attended. Jimmie Walker's character, "Bootney" was another reference to his life. Wesley grew upward knowing two brothers named "Lil Bootney and Big Bootney." Wesley mentions the two were known as fighters within the community.

Remake [edit]

Will Smith and his production company, Overbrook Entertainment, secured the rights in 2002 to the trilogy for remakes to star Smith and to be distributed past Warner Bros. Smith stated that he hoped to go Eddie Tater, Martin Lawrence and other famous African-American stars to be in the films.^{[20] [21]}

See as well [edit]

• List of American films of 1975

References [edit]

1. ^ Acme 20 Films of 1975 past Domestic Acquirement. Box Role Report via Internet Annal. Retrieved September 18, 2013.
2. ^ ^{a b} "Let'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://www.blackclassicmovies.com/lets-do-it-again/". blackclassicmovies.com . Retrieved 2017-12-08 .
5. ^ Let'southward Do it Again Film Commentary
6. ^ "Costuming the Blaxploitation Hero | Clothes on Film". CAMARA DIA HOLLOWAY. 2013-xi-nineteen. Retrieved 2017-12-08 .
7. ^ "Blaxploitation Wearing apparel Codes in 1970s Movie theater". Clothes on Film. 2013-09-xx. 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 Drive for Racial Justice". nytimes.com . Retrieved 2017-12-08 .
10. ^ "The Bro's Code Interview: Fonzworth Bentley" Archived 2008-10-07 at the Wayback Machine, The Bro's Code, 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. "Permit's Exercise It Once again Motion picture Review (1975) | Roger Ebert". rogerebert.com . Retrieved 2017-12-08 .
13. ^ Siskel, Factor (October 14, 1975). "'Do It Once again': Again... but better". Chicago Tribune. Department three, p. five.
14. ^ Eder, Richard (October xiii, 1975). "Poitier and Cosby in 'Let'due south Practise It Once more,' Blackness Action Comedy". The New York Times. 31.
15. ^ "Film Reviews: Let'south Do It Over again". Diversity. Oct viii, 1975. p. sixteen.
16. ^ Thomas, Kevin (October 13, 1975). "Cosby, Poitier Back in 'Once again'". Los Angeles Times. Part 4, p. 1.
17. ^ Rosenbaum, Jonathan (August 1976). "Let's Practice It Again". The Monthly Picture Message. 43 (511): 166.
18. ^ "Let's Do It Over again". Retrieved 2018-12-08 .
19. ^ "Best Picture Rental Champs", Variety, 7 January 1976 p 46
20. ^ VH1.com : Will Smith : Volition Smith Secures Rights To Sidney Poitier/ Nib Cosby Flicks - Rhapsody Music Downloads
21. ^ Uptown Saturday Nighttime (1974) - News

External links [edit]

• Let's Do It Again at IMDb
• Let's Do It Again at the TCM Picture Database
• Let's Do It Once again at AllMovie
• Let's Do Information technology Once again at Rotten Tomatoes

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