Jayne Kennedy Lets Do It Again

1975 picture by Sidney Poitier

Let's Do It Again
Theatrical release affiche by Jack Rickard
Directed by	Sidney Poitier
Screenplay by	Richard Wesley
Story past	Timothy March
Produced by	Melville Tucker
Starring	Sidney Poitier Beak Cosby Calvin Lockhart John Amos Julius Harris Denise Nicholas Lee Chamberlin Mel Stewart Jimmie Walker Ossie Davis
Cinematography	Donald M. Morgan
Edited past	Pembroke J. Herring
Music past	Curtis Mayfield
Color process	Technicolor
Production companies	Starting time Artists Verdon Productions Express
Distributed past	Warner Bros.
Release date	October 11, 1975 (1975-10-11)
Running time	113 minutes
Country	United States
Linguistic communication	English
Box office	$11.8 1000000 (rentals) [i]

Let's Do It Again is a 1975 American activity crime one-act film directed by and starring Sidney Poitier and co-starring Bill Cosby and Jimmie Walker,^[two] among an all-star black cast. The film, directed by Poitier,^[2] is about blue-collar workers who make up one's mind to rig a battle match to raise money for their congenial lodge. The vocal of the same proper noun past The Staple Singers was featured as the opening and ending theme of the movie, and equally a result, the two take become commonly associated with each other. The production companies include Verdon Productions and The Kickoff Artists Production Company, Ltd., and distributed by Warner Bros. The motion picture was filmed in 2 cities, Atlanta, Georgia and New Orleans, Louisiana, where virtually of the plot takes place.^[3] This was the second film pairing of Poitier and Cosby following Uptown Saturday Night, and followed by A Piece of the Action (1977). Of the three, Let's Exercise It Once more has been the most successful both critically and commercially. Calvin Lockhart and Lee Chamberlin also appeared in Uptown Saturday Night. Co-ordinate to the American Film Institute, Let's Practise It Again is not a sequel to Uptown Sat Night ^[3]

Plot [edit]

Two friends, Billy Foster (Bill Cosby) and Clyde Williams (Sidney Poitier), need to apace find a way to raise funds for their fraternal society, the Sons and Daughters of Shaka.^[four] It is incumbent on Billy to find the coin because he is the treasurer of the struggling lodge. After Billy convinces Clyde that it is their best and quickest pick, they make up one's mind to bring back a successful money-making scheme, hence the championship. Clyde's special ability of hypnosis allows the two to gear up up battle matches so maximize profits by going all in on the underdog. Baton and Clyde take their talents to New Orleans to rig a boxing friction 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, fifty-fifty his coach, makes the odds of him winning lower by the day. Subsequently watching Bootney struggle, Billy and Clyde are encouraged to get through with their plan. Before the match, they sneak into Bootney'due south hotel room and hypnotize him, before they hilariously escape. They use what'south left of the lodge's budget 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 lodge, they soon receive a visit from Kansas City Mack. Mack grew suspicious of the duo's conveniently-timed bet, and after finally communicable 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 aforementioned hypnosis on a boxer, but this time they must collude with Mack. Billy and Clyde agree to the initial deal, simply Clyde has a difficult time de-hypnotizing Bootney. Bootney, withal under hypnosis, has go far too quick for Clyde to keep up with and de-anesthetize. Unable to enter Farnsworth's grooming room to dehypnotize him, which in turn would cause him to lose the fight, Williams and Foster decide to bet on the match beingness a draw, and place bets with both gangster groups by using their wives, who volition not be recognized. They decide to anesthetize Bootney'due south opponent, in order to capitalize on an outrageous bet no one would think of, a tie. Post-obit the stunning outcome, Billy and Clyde are nowhere to be plant. Outraged, Kansas City Mack and rival bookmaker, Biggie Smalls, team up in guild to rail the two downwards. Billy and Clyde lead them on a chase that ends upwardly at the local police department. Here, the lead officeholder tells the two bookmakers that if he ever hears they have harassed Billy and Clyde or if the 2 come up upward missing, they will be thrown in jail for a very long time. The film ends with Billy 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 as Clyde Williams
• Beak Cosby equally Billy Foster
• Calvin Lockhart as "Biggie" Smalls
• John Amos as Mack "Kansas City Mack"
• Jimmie Walker as "Bootney" Farnsworth
• Ossie Davis as Elder Johnson
• Denise Nicholas equally Beth Foster
• Lee Chamberlin as Dee Dee Williams
• Mel Stewart as Ellison
• Julius Harris as "Bubbletop" Woodson
• Billy Eckstine as Zack
• Paul Harris equally Jody Tipps
• Rodolphus Lee Hayden every bit 40th Street Blackness

When the motion-picture show 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 picture show. Jayne Kennedy also makes a cameo during the opening credits as the beautiful Girl at the Factory that Baton is looking at when he crashes his forklift.

Groundwork [edit]

The film's author, Richard Wesley, also wrote the first film that featured Cosby and Poitier as 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 near future" and a 1989 play The Talented Tenth which takes its name from W. E. B. Du Bois's article, "The Talented 10th." Like Wesley, the movie's producer, Melville Tucker, as well worked on Uptown Sabbatum Nighttime. Tucker worked with Poitier prior to both films also in The Lost Man (1969). The Lost Man is black power motion-picture show most group of blackness militants that hatch a plan 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 moving picture critic Armond White. Wesley mentions that the film was of import to Poitier's image. The film allowed Poitier to aggrandize his now "distant" image and reply criticism from blackness militants and the younger generation.^[v] Working with younger actors, like Jimmie Walker, was an important cistron in widening Poitier's audience. Jimmie Walker's graphic symbol welcomed Poitier to "new black humour." Wesley also mentions that Bill Cosby and Sydney Poitier were not the original atomic number 82 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, as Warners Bros. wanted actors more known to mainstream America. Pryor and Foxx had some success but Poitier was seen as a more viable pb actor. In the stop, Wesley was pleased with the actors that lead the moving-picture show, because Poitier and Cosby worked so well together. Wesley points out that the friendship off-screen translated to the pic. Though, Poitier and Cosby had two very different acting styles, their chemistry was what additional 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 player, producer or manager prior to Allow's Do It Once more.

Themes [edit]

The attire in the flick resembles much of what is seen in the Blaxploitation era. In the DVD's commentary, movie 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 golden jewelry are Blaxploitation staples.^[6] White also mentions that Bill Cosby satirizes the attire of Blaxploitation in just ane scene. Cosby wears a flamboyant cherry and pink conform in an attempt to impress prominent bookmaker Kansas City Mack (John Amos). Author Chris Laverty went into more item 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 man; readable entirely past what he wears. Narrative was indirectly powered by the coveting of wearing apparel as visual representation of having 'made it.'"^[7] It is also worth noting that Mack's entourage has either relaxed pilus or a shaved caput. Afros are not often seen on the heads of elite African-American businessmen. Afros are Blaxploitation staples and is seen on the head of Bill Cosby, while Sidney Poitier has a lower cutting.

The role of women in the movie was a priority of Wesley. He admitted, in the flick'south commentary, that women were "underutilized" in Uptown Saturday Night. In Let'due south Exercise it Again, the pregnant others of Billy and Clyde are more visible throughout the motion-picture show and play a larger role in the denouement of the film. Women are more visible in their relations to other characters every bit well. Wesley points out that an adversary, Biggie Smalls, has a female head honcho. Mature relationships betwixt blackness men and women that may have been "soured" by the time was another reason for Wesley increasing the part of women in the film. Richard wanted to improve the paradigm of black community. To him, this improvement began in the portrayal of the household. Let'due south Do It Once more came at when films that starred powerful, black female leads, such as Coffy and Foxy Dark-brown, were existence released. Wesley decided to take a unlike route and utilize black, female characters every bit companions to male leads.

Self-determination is another theme present in the film. The film showed characters taking accuse of their own lives. This idea that each individual controls their own life is some other mutual theme in the Black Power motility and was central to lectures past Black Power leaders such as Malcolm X and Martin Luther Rex Jr.^{[8] [ix]}

Soundtrack [edit]

The soundtrack to the picture was put together by world-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 championship track for this movie entitled, "Let's Do It Again," was a number one hitting on both the R&B and Pop charts.^[3] Wesley credited much of the film'southward success to the success of the song, which was released prior to the film's 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'south.

1. "Let's Do It Once more"
2. "Funky Love"
3. "A Whole Lot of Love"
4. "New Orleans"
5. "I Want to Thank Yous"
6. "Big Mac"
7. "Afterwards Sexual practice"
8. "Chase" (Quinton Joseph, Phillip Upchurch, Gary Thompson, Floyd Morris, Joseph Scott, Mayfield)

Influence in popular culture [edit]

• The tardily Brooklyn rap artist The Notorious B.I.G. took his allonym, Biggie Smalls, from Calvin Lockhart's graphic symbol in this film. Withal, the alias could not be used equally his proper noun due to ownership bug.
• Eastward Coast rap group Camp Lo named their second album "Allow's Do Information technology Once more" after their debut album was named "Uptown Sabbatum Dark," a reference to the two Cosby and Poitier movies.
• Musician/MTV personality Fonzworth Bentley took his stage proper name from Jimmie Walker's character, Bootney Farnsworth.^[10]

Reception [edit]

The revenue is listed at $eleven.8 1000000 and was i of the highest-grossing films of 1975.^[11]

Roger Ebert gave information technology iii out of 4 stars, saying that information technology "isn't a terribly aggressive comedy, only within its limitations it works well."^[12] Cistron Siskel besides awarded 3 stars out of 4 and wrote, "Later on 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 apply the same gang and practise it again, but improve. That's been accomplished, and there's no reason to end at two. Cosby and Poitier have broad sense of humor down pat; I'd similar to see them get witty."^[xiii] Richard Eder of The New York Times wrote that the action "is familiar stuff, but some of it is pretty funny," and found Cosby in detail "hilarious."^[fourteen] Variety wrote, "The gang from 'Uptown Sabbatum Dark' encores successfully in 'Let's Exercise It Again,' a funny, gratis-form farcical revue reminiscent in substance of classic Hal Roach one-act."^[fifteen] Kevin Thomas of the Los Angeles Times stated, "At 112 minutes, 'Let'south Practise It Once more' is extraordinarily long for a one-act, even so its humor is sustained throughout, cheers to Wesley's ingenuity and to the fine ensemble playing of a large cast nether Poitier's appreciating direction."^[xvi] 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 Practise It Again is a salubrious reminder of the relative verve, energy and talent to exist found nowadays in the and then-chosen 'blackness exploitation' moving picture—a somewhat loaded term considering the fact that no one always speaks of 'white exploitation,' and particularly inappropriate in relation to such a high-spirited yet unassuming entertainment as this."^[17]

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

References to Richard Wesley's Life [edit]

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

Remake [edit]

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

See also [edit]

• List of American films of 1975

References [edit]

1. ^ Top 20 Films of 1975 past Domestic Revenue. Box Office Study via Cyberspace Archive. Retrieved September 18, 2013.
2. ^ ^{a b} "Let's Do Information technology 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-information technology-once more/". blackclassicmovies.com . Retrieved 2017-12-08 .
5. ^ Let'south Do it Over again Motion-picture show Commentary
6. ^ "Costuming the Blaxploitation Hero | Clothes on Pic". CAMARA DIA HOLLOWAY. 2013-11-nineteen. Retrieved 2017-12-08 .
7. ^ "Blaxploitation Wearing apparel Codes in 1970s Movie house". Clothes on Film. 2013-09-20. 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 Nonviolent Drive for Racial Justice". nytimes.com . Retrieved 2017-12-08 .
10. ^ "The Bro's Lawmaking Interview: Fonzworth Bentley" Archived 2008-x-07 at the Wayback Machine, The Bro'due south Lawmaking, July 9, 2008. Retrieved October 24, 2009.
11. ^ "Box Part Written report - Revenue Database - 1975". 2008-06-05. Archived from the original on 2008-06-05. Retrieved 2017-12-08 .
12. ^ Ebert, Roger. "Let's Do It Over again Movie Review (1975) | Roger Ebert". rogerebert.com . Retrieved 2017-12-08 .
13. ^ Siskel, Gene (Oct 14, 1975). "'Exercise It Once more': In one case more... but better". Chicago Tribune. Section 3, p. 5.
14. ^ Eder, Richard (Oct thirteen, 1975). "Poitier and Cosby in 'Permit'south Do It Again,' Black Action One-act". The New York Times. 31.
15. ^ "Motion-picture show Reviews: Let's Do It Again". Variety. October viii, 1975. p. 16.
16. ^ Thomas, Kevin (October xiii, 1975). "Cosby, Poitier Back in 'Again'". Los Angeles Times. Part IV, p. 1.
17. ^ Rosenbaum, Jonathan (August 1976). "Allow'due south Do Information technology Again". The Monthly Picture Bulletin. 43 (511): 166.
18. ^ "Let'southward Do Information technology Once again". Retrieved 2018-12-08 .
19. ^ "All-fourth dimension Picture show Rental Champs", Variety, 7 January 1976 p 46
20. ^ VH1.com : Will Smith : Will Smith Secures Rights To Sidney Poitier/ Bill Cosby Flicks - Rhapsody Music Downloads
21. ^ Uptown Sat Dark (1974) - News

External links [edit]

• Permit'due south Practise It Again at IMDb
• Let's Practice It Again at the TCM Movie Database
• Let'due south Do It Once more at AllMovie
• Let'due south Do It 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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