Cast of Movie Lets Do It Again

1975 film past Sidney Poitier

Let's Exercise Information technology Again
Theatrical release poster by Jack Rickard
Directed by	Sidney Poitier
Screenplay by	Richard Wesley
Story by	Timothy March
Produced past	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 by	Pembroke J. Herring
Music by	Curtis Mayfield
Color process	Technicolor
Production companies	Commencement Artists Verdon Productions Limited
Distributed by	Warner Bros.
Release date	October xi, 1975 (1975-10-11)
Running time	113 minutes
State	United States
Language	English
Box office	$11.viii million (rentals) [1]

Let's Do It Again is a 1975 American action crime comedy picture show directed by and starring Sidney Poitier and co-starring Nib Cosby and Jimmie Walker,^[ii] among an all-star black bandage. The film, directed by Poitier,^[2] is nearly blue-collar workers who decide to rig a boxing match to heighten money for their congenial club. The song of the same name by The Staple Singers was featured every bit the opening and ending theme of the movie, and as a upshot, the 2 have become commonly associated with each other. The production companies include Verdon Productions and The First Artists Product Visitor, Ltd., and distributed by Warner Bros. The motion picture was filmed in ii cities, Atlanta, Georgia and New Orleans, Louisiana, where nearly of the plot takes place.^[3] This was the 2nd film pairing of Poitier and Cosby post-obit Uptown Saturday Night, and followed by A Slice of the Action (1977). Of the 3, Let's Do It Once more has been the about successful both critically and commercially. Calvin Lockhart and Lee Chamberlin also appeared in Uptown Saturday Night. According to the American Picture Institute, Allow'southward Practice It Again is not a sequel to Uptown Sabbatum Night.^[three]

Plot [edit]

Ii friends, Billy Foster (Neb Cosby) and Clyde Williams (Sidney Poitier), need to quickly notice a way to raise funds for their fraternal lodge, the Sons and Daughters of Shaka.^[4] Information technology is incumbent on Baton to detect the money because he is the treasurer of the struggling lodge. After Billy convinces Clyde that it is their best and quickest option, they decide to bring back a successful money-making scheme, hence the championship. Clyde's special ability of hypnosis allows the two to set upward boxing matches and and so maximize profits by going all in on the underdog. Billy and Clyde take their talents to New Orleans to rig a boxing match. This is where Jimmie Walker's graphic symbol, 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 mean solar day. 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'due 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 boxing miracle and easily defeats the champion, 40th Street Black (Rodolphus Lee Hayden), past KO. After 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'due south conveniently-timed bet, and after finally catching on, he spent weeks searching for the 2 best friends. Once he arrives at the social club, 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 agree to the initial deal, but Clyde has a hard time de-hypnotizing Bootney. Bootney, still under hypnosis, has become far too quick for Clyde to keep up with and de-hypnotize. Unable to enter Farnsworth's grooming room to dehypnotize him, which in turn would crusade him to lose the fight, Williams and Foster decide to bet on the friction match being a draw, and place bets with both gangster groups by using their wives, who will non be recognized. They make up one's mind to hypnotize Bootney's opponent, in order to capitalize on an outrageous bet no one would think of, a tie. Following the stunning outcome, Billy and Clyde are nowhere to exist found. Outraged, Kansas Urban center Mack and rival bookmaker, Biggie Smalls, team upward in order to track the two downwards. Billy and Clyde lead them on a hunt that ends up at the local police department. Hither, the lead officer tells the ii bookmakers that if he ever hears they have 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 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.

Cast [edit]

• Sidney Poitier as Clyde Williams
• Bill Cosby every bit 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 every bit Beth Foster
• Lee Chamberlin as Dee Dee Williams
• Mel Stewart equally Ellison
• Julius Harris as "Bubbletop" Woodson
• Billy Eckstine as Zack
• Paul Harris equally Jody Tipps
• Rodolphus Lee Hayden as 40th Street Black

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

Background [edit]

The film's author, Richard Wesley, as well wrote the first film that featured Cosby and Poitier as co-stars, Uptown Sat 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 virtually future" and a 1989 play The Talented Tenth which takes its proper noun from W. E. B. Du Bois's commodity, "The Talented 10th." Like Wesley, the film's producer, Melville Tucker, too 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 power film about 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 manufacturing plant.

The DVD contains a commentary feature that includes Richard Wesley and New York Press moving-picture show critic Armond White. Wesley mentions that the flick was important to Poitier'due south image. The moving picture allowed Poitier to aggrandize his now "distant" epitome and answer criticism from black militants and the younger generation.^[5] Working with younger actors, like Jimmie Walker, was an important gene in widening Poitier's audition. Jimmie Walker'south character welcomed Poitier to "new blackness humour." Wesley also mentions that Nib Cosby and Sydney Poitier were non 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, as Warners Bros. wanted actors more known to mainstream America. Pryor and Foxx had some success but Poitier was seen equally a more viable atomic number 82 actor. In the end, 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 flick. 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 role player, producer or director prior to Let's Exercise It Again.

Themes [edit]

The attire in the moving picture resembles much of what is seen in the Blaxploitation era. In the DVD'due south commentary, film critic Armond White points out that the suits were worn past Kansas City Mack and co. to parody Blaxploitation. Extravagant, if not gaudy, suits and gilt jewelry are Blaxploitation staples.^[6] White also mentions that Beak Cosby satirizes the attire of Blaxploitation in just one scene. Cosby wears a flamboyant ruby-red and pink accommodate in an attempt to impress prominent bookmaker Kansas City Mack (John Amos). Author 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 self-made human being; readable entirely by what he wears. Narrative was indirectly powered by the coveting of clothes as visual representation of having 'made it.'"^[7] It is also worth noting that Mack'due south entourage has either relaxed hair or a shaved head. Afros are not oftentimes seen on the heads of elite African-American businessmen. Afros are Blaxploitation staples and is seen on the caput of Beak Cosby, while Sidney Poitier has a lower cut.

The role of women in the picture show was a priority of Wesley. He admitted, in the motion-picture show's commentary, that women were "underutilized" in Uptown Saturday Night. In Allow'due south Do it Again, the significant others of Billy and Clyde are more visible throughout the movie and play a larger part in the denouement of the film. Women are more visible in their relations to other characters as well. Wesley points out that an antagonist, Biggie Smalls, has a female person caput honcho. Mature relationships betwixt blackness men and women that may have been "soured" by the time was another reason for Wesley increasing the office of women in the picture. Richard wanted to improve the image of black community. To him, this improvement began in the portrayal of the household. Let'southward Do Information technology Over again came at when films that starred powerful, black female leads, such as Coffy and Foxy Brown, were being released. Wesley decided to take a different road and use black, female characters equally companions to male leads.

Self-determination is another theme present in the film. The moving picture showed characters taking charge of their own lives. This idea that each individual controls their own life is another mutual theme in the Black Power motion and was central to lectures by Black Ability leaders such as Malcolm X and Martin Luther King Jr.^{[8] [9]}

Soundtrack [edit]

The soundtrack to the picture show was put together past 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 picture entitled, "Let's Exercise It Again," was a number one hit on both the R&B and Pop charts.^[3] Wesley credited much of the motion picture's success to the success of the song, which was released prior to the film's debut. The music besides resembles much of what is seen in Blaxploitation. Upbeat funk with horns and syncopated drum beats are heard in black movie theatre films throughout the 1960s-1970'southward.

1. "Allow'southward Do Information technology Again"
2. "Funky Love"
3. "A Whole Lot of Love"
4. "New Orleans"
5. "I Desire to Thank you"
6. "Big Mac"
7. "After Sex"
8. "Chase" (Quinton Joseph, Phillip Upchurch, Gary Thompson, Floyd Morris, Joseph Scott, Mayfield)

Influence in popular civilisation [edit]

• The belatedly Brooklyn rap artist The Notorious B.I.Grand. took his allonym, Biggie Smalls, from Calvin Lockhart'south graphic symbol in this film. However, the alias could not exist used as his proper name due to buying problems.
• East Coast rap group Camp Lo named their second album "Allow's Do It Once again" after their debut album was named "Uptown Sabbatum Night," 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 acquirement is listed at $xi.viii meg and was one of the highest-grossing films of 1975.^[xi]

Roger Ebert gave it 3 out of 4 stars, proverb that it "isn't a terribly ambitious one-act, merely within its limitations information technology works well."^[12] Cistron Siskel too awarded iii stars out of 4 and wrote, "Afterwards making 'Uptown Saturday Night,' Cosby said that he wasn't satisfied with the motion-picture show even though it was selling well. He said he wanted to use the same gang and do it once more than, merely meliorate. That's been accomplished, and there's no reason to terminate at two. Cosby and Poitier take broad humour down pat; I'd similar to run across them become witty."^[13] Richard Eder of The New York Times wrote that the action "is familiar stuff, but some of it is pretty funny," and institute Cosby in particular "hilarious."^[14] Variety wrote, "The gang from 'Uptown Saturday Night' encores successfully in 'Let'due south Do It Again,' a funny, costless-grade farcical revue reminiscent in substance of classic Hal Roach comedy."^[15] Kevin Thomas of the Los Angeles Times stated, "At 112 minutes, 'Permit'due south Do Information technology Once more' 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 nether Poitier'southward affectionate management."^[xvi] Jonathan Rosenbaum of The Monthly Motion picture Bulletin wrote, "Despite a frankly nonsensical plot full of formula antics and an unnecessarily protracted running fourth dimension, Let'south Do It Again is a good for you reminder of the relative verve, energy and talent to be found present in the then-chosen 'black exploitation' motion picture—a somewhat loaded term considering the fact that no one always speaks of 'white exploitation,' and peculiarly 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 picture show as well won all five NAACP Image Awards for which it received a nomination. The film earned $vi million in theatrical rentals in North America.^[xix]

References to Richard Wesley's Life [edit]

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

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 exist distributed by Warner Bros. Smith stated that he hoped to become Eddie Tater, Martin Lawrence and other famous African-American stars to be in the films.^{[20] [21]}

See besides [edit]

• Listing of American films of 1975

References [edit]

1. ^ Top 20 Films of 1975 by Domestic Revenue. Box Function Study via Internet Annal. Retrieved September 18, 2013.
2. ^ ^{a b} "Let's Practice It Again". Turner Classic Movies . Retrieved May 21, 2016.
3. ^ ^{a b c} "AFI|Itemize". itemize.afi.com . Retrieved 2017-12-08 .
4. ^ "http://world wide web.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 | Apparel on Movie". CAMARA DIA HOLLOWAY. 2013-11-19. Retrieved 2017-12-08 .
7. ^ "Blaxploitation Dress Codes in 1970s Movie theater". Clothes on Motion picture. 2013-09-20. Retrieved 2017-12-08 .
8. ^ "Malcolm 10 Preaches Blackness Cocky-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 Automobile, The Bro'due south Lawmaking, July nine, 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's Do It Over again Motion-picture show Review (1975) | Roger Ebert". rogerebert.com . Retrieved 2017-12-08 .
13. ^ Siskel, Factor (Oct fourteen, 1975). "'Practise It Again': Once more... but better". Chicago Tribune. Section 3, p. five.
14. ^ Eder, Richard (Oct thirteen, 1975). "Poitier and Cosby in 'Let's Do Information technology Again,' Blackness Action Comedy". The New York Times. 31.
15. ^ "Film Reviews: Let's Do Information technology Again". Variety. Oct 8, 1975. p. 16.
16. ^ Thomas, Kevin (Oct 13, 1975). "Cosby, Poitier Back in 'Again'". Los Angeles Times. Part 4, p. 1.
17. ^ Rosenbaum, Jonathan (August 1976). "Let's Do It Once again". The Monthly Film Bulletin. 43 (511): 166.
18. ^ "Let's Do It Again". Retrieved 2018-12-08 .
19. ^ "All-time Pic 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 Night (1974) - News

External links [edit]

• Allow'south Do It Again at IMDb
• Let'due south Do It Again at the TCM Picture Database
• Let's Do Information technology Again at AllMovie
• Allow's Exercise 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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