Lets Do It Again Bill Cosby Dvd

1975 film by Sidney Poitier

Allow'south Do It Once again
Theatrical release poster by Jack Rickard
Directed by	Sidney Poitier
Screenplay past	Richard Wesley
Story by	Timothy March
Produced by	Melville Tucker
Starring	Sidney Poitier Pecker Cosby Calvin Lockhart John Amos Julius Harris Denise Nicholas Lee Chamberlin Mel Stewart Jimmie Walker Ossie Davis
Cinematography	Donald 1000. Morgan
Edited past	Pembroke J. Herring
Music by	Curtis Mayfield
Color process	Technicolor
Production companies	First Artists Verdon Productions Limited
Distributed by	Warner Bros.
Release date	October 11, 1975 (1975-ten-11)
Running time	113 minutes
Country	United States
Linguistic communication	English
Box office	$eleven.viii 1000000 (rentals) [ane]

Let's Do It Once more is a 1975 American action criminal offence comedy movie directed by and starring Sidney Poitier and co-starring Bill Cosby and Jimmie Walker,^[2] amidst an all-star blackness cast. The film, directed by Poitier,^[2] is about blue-collar workers who decide to rig a battle match to raise money for their fraternal social club. The vocal of the aforementioned name by The Staple Singers was featured equally the opening and ending theme of the moving picture, and every bit a result, the 2 have get usually 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 two cities, Atlanta, Georgia and New Orleans, Louisiana, where most of the plot takes place.^[three] 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 3, Let's Do It Again has been the most successful both critically and commercially. Calvin Lockhart and Lee Chamberlin also appeared in Uptown Saturday Night. According to the American Film Establish, Permit's Exercise It Again is not a sequel to Uptown Saturday Night ^[3]

Plot [edit]

Two friends, Billy Foster (Beak Cosby) and Clyde Williams (Sidney Poitier), need to quickly find a way to raise funds for their fraternal social club, the Sons and Daughters of Shaka.^[4] It is incumbent on Baton to observe the coin because he is the treasurer of the struggling gild. Later on Billy convinces Clyde that information technology is their best and quickest option, they determine to bring back a successful money-making scheme, hence the title. Clyde'southward special power of hypnosis allows the ii to gear up boxing matches and then maximize profits by going all in on the underdog. Billy and Clyde accept their talents to New Orleans to rig a battle match. This is where Jimmie Walker's grapheme, Bootney Farnsworth, comes into the fold. Bootney is lanky boxer that is overwhelmed in the initial sparring matches. His difficulty to print anyone, even his coach, makes the odds of him winning lower past the solar day. After watching Bootney struggle, Billy and Clyde are encouraged to become through with their plan. Before the match, they sneak into Bootney'due south hotel room and hypnotize him, before they hilariously escape. They employ what'south left of the club'southward 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 phenomenon and easily defeats the champion, 40th Street Black (Rodolphus Lee Hayden), past KO. Afterward collecting their money and returning to Atlanta to celebrate at the lodge, they soon receive a visit from Kansas Metropolis Mack. Mack grew suspicious of the duo's conveniently-timed bet, and after finally communicable on, he spent weeks searching for the two best friends. One time he arrives at the lodge, he makes a deal that would allow the two sides exist even. Billy and Clyde must perform exactly the same hypnosis on a boxer, simply this time they must collude with Mack. Billy and Clyde agree to the initial deal, only Clyde has a hard time de-hypnotizing Bootney. Bootney, all the same under hypnosis, has become far too quick for Clyde to keep upward with and de-hypnotize. Unable to enter Farnsworth'due south training room to dehypnotize him, which in plough would cause him to lose the fight, Williams and Foster decide to bet on the match being a draw, and place bets with both gangster groups past using their wives, who will not be recognized. They decide to hypnotize Bootney's opponent, in order to capitalize on an outrageous bet no one would remember of, a tie. Following the stunning event, Baton and Clyde are nowhere to be establish. Outraged, Kansas Urban center Mack and rival bookmaker, Biggie Smalls, team up in order to rail the ii downwards. Billy and Clyde lead them on a chase that ends up at the local police department. Hither, the lead officeholder tells the two bookmakers that if he ever hears they have harassed Billy and Clyde or if the two come missing, they will be thrown in jail for a very long time. The movie 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.

Bandage [edit]

• Sidney Poitier as Clyde Williams
• Bill 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 as Beth Foster
• Lee Chamberlin equally Dee Dee Williams
• Mel Stewart equally Ellison
• Julius Harris as "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 as male parent and son in the CBS sitcom Expert Times. George Foreman makes a cameo appearance as a factory worker who challenges Billy to a fight in the beginning of the movie. Jayne Kennedy as well makes a cameo during the opening credits as the beautiful Daughter at the Factory that Baton is looking at when he crashes his forklift.

Groundwork [edit]

The film'southward author, Richard Wesley, also wrote the starting time moving picture that featured Cosby and Poitier equally co-stars, Uptown Saturday Night. 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 blackness revolution that was to take place in "the very near hereafter" and a 1989 play The Talented Tenth which takes its proper noun from W. Eastward. B. Du Bois'due south article, "The Talented Tenth." Like Wesley, the moving-picture show's producer, Melville Tucker, too worked on Uptown Sabbatum Nighttime. Tucker worked with Poitier prior to both films as well in The Lost Man (1969). The Lost Homo is blackness power moving-picture show well-nigh group of blackness militants that hatch a programme to finance their "revolutionary struggle." In club to succeed in this mission, the group conspires to rob a manufactory.

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'due south epitome. The film immune Poitier to expand his now "distant" image and reply criticism from black militants and the younger generation.^[five] Working with younger actors, similar Jimmie Walker, was an important factor in widening Poitier'southward audience. Jimmie Walker's graphic symbol welcomed Poitier to "new black humor." Wesley also mentions that Pecker Cosby and Sydney Poitier were non 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 just Poitier was seen as a more viable pb histrion. In the end, Wesley was pleased with the actors that atomic number 82 the film, because Poitier and Cosby worked 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 chemistry 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 role player, producer or director prior to Let's Exercise It Again.

Themes [edit]

The attire in the picture show 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 not gaudy, suits and gold jewelry are Blaxploitation staples.^[6] White also mentions that Neb Cosby satirizes the attire of Blaxploitation in just one 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 detail nigh article of clothing and their importance in a periodical for Arts Illustrated stating, "In a sense it was social progression, the essence of the self-fabricated man; readable entirely by what he wears. Narrative was indirectly powered by the coveting of dress every bit 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 often seen on the heads of elite African-American businessmen. Afros are Blaxploitation staples and is seen on the head of Beak Cosby, while Sidney Poitier has a lower cut.

The office of women in the flick was a priority of Wesley. He admitted, in the film's commentary, that women were "underutilized" in Uptown Saturday Dark. In Allow's Practise it Again, the meaning others of Baton and Clyde are more visible throughout the motion-picture show 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 person head honcho. Mature relationships betwixt black men and women that may have been "soured" by the fourth dimension was another reason for Wesley increasing the role of women in the motion picture. Richard wanted to improve the image of black community. To him, this comeback began in the portrayal of the household. Let'south Exercise Information technology Once more 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 different route and use blackness, female person characters equally companions to male leads.

Cocky-conclusion is another theme present in the picture show. The film showed characters taking charge of their own lives. This thought that each private controls their own life is some other common theme in the Black Power movement and was central to lectures by Black Power leaders such every bit Malcolm 10 and Martin Luther Rex Jr.^{[8] [nine]}

Soundtrack [edit]

The soundtrack to the film was put together past 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 title track for this movie entitled, "Let's Practise It Once more," 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'south debut. The music besides resembles much of what is seen in Blaxploitation. Upbeat funk with horns and syncopated drum beats are heard in blackness cinema films throughout the 1960s-1970's.

1. "Let's Do It Over again"
2. "Funky Love"
3. "A Whole Lot of Love"
4. "New Orleans"
5. "I Desire to Thank You lot"
6. "Big Mac"
7. "Afterward Sex"
8. "Hunt" (Quinton Joseph, Phillip Upchurch, Gary Thompson, Floyd Morris, Joseph Scott, Mayfield)

Influence in popular civilization [edit]

• The tardily Brooklyn rap artist The Notorious B.I.One thousand. took his alias, Biggie Smalls, from Calvin Lockhart'due south character in this flick. Withal, the alias could not exist used as his proper name due to buying bug.
• E Coast rap grouping Camp Lo named their second album "Permit's Do It Again" after their debut anthology 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 grapheme, Bootney Farnsworth.^[ten]

Reception [edit]

The revenue is listed at $11.8 million and was one of the highest-grossing films of 1975.^[11]

Roger Ebert gave it 3 out of iv stars, maxim that information technology "isn't a terribly aggressive comedy, but within its limitations it works well."^[12] Cistron Siskel also awarded 3 stars out of 4 and wrote, "After 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 use the aforementioned gang and do it once more than, but better. That'south been accomplished, and there'southward no reason to cease at two. Cosby and Poitier have broad humor downwards pat; I'd like to see them get witty."^[thirteen] Richard Eder of The New York Times wrote that the activity "is familiar stuff, only some of it is pretty funny," and plant Cosby in item "hilarious."^[xiv] Diversity wrote, "The gang from 'Uptown Saturday Night' encores successfully in 'Let'due south Practise It Again,' a funny, free-form farcical revue reminiscent in substance of archetype Hal Roach one-act."^[fifteen] Kevin Thomas of the Los Angeles Times stated, "At 112 minutes, 'Let's Do It Again' is extraordinarily long for a comedy, yet its sense of humor is sustained throughout, thanks to Wesley'south ingenuity and to the fine ensemble playing of a big cast under Poitier'southward affectionate 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 Information technology Once again is a healthy reminder of the relative verve, energy and talent to be found nowadays in the and so-called 'black exploitation' film—a somewhat loaded term because the fact that no one e'er speaks of 'white exploitation,' and particularly inappropriate in relation to such a high-spirited withal unassuming entertainment every bit this."^[17]

Rotten Tomatoes gives it a rating of 63% based on reviews from 8 critics.^[18] The film also won all 5 NAACP Paradigm Awards for which it received a nomination. The moving-picture show earned $six million in theatrical rentals in North America.^[nineteen]

References to Richard Wesley'south Life [edit]

In the DVD's 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 camp Richard'due south 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 ii were known equally fighters within the community.

Remake [edit]

Will Smith and his production visitor, Overbrook Amusement, 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.^{[20] [21]}

Run into also [edit]

• List of American films of 1975

References [edit]

1. ^ Top 20 Films of 1975 past Domestic Revenue. Box Office Report via Net Archive. Retrieved September 18, 2013.
2. ^ ^{a b} "Let's Do It Again". Turner Classic Movies . Retrieved May 21, 2016.
3. ^ ^{a b c} "AFI|Catalog". catalog.afi.com . Retrieved 2017-12-08 .
4. ^ "http://world wide web.blackclassicmovies.com/lets-practice-information technology-once again/". blackclassicmovies.com . Retrieved 2017-12-08 .
5. ^ Let's Do information technology Over again Picture show Commentary
6. ^ "Costuming the Blaxploitation Hero | Wearing apparel on Film". CAMARA DIA HOLLOWAY. 2013-11-19. Retrieved 2017-12-08 .
7. ^ "Blaxploitation Apparel Codes in 1970s Cinema". Clothes on Pic. 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 Code Interview: Fonzworth Bentley" Archived 2008-10-07 at the Wayback Auto, The Bro'southward Code, July nine, 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'due south Do It Again Film Review (1975) | Roger Ebert". rogerebert.com . Retrieved 2017-12-08 .
13. ^ Siskel, Factor (October fourteen, 1975). "'Exercise It Over again': Once again... but amend". Chicago Tribune. Section 3, p. 5.
14. ^ Eder, Richard (October 13, 1975). "Poitier and Cosby in 'Let'due south Do It Again,' Black Activeness Comedy". The New York Times. 31.
15. ^ "Film Reviews: Permit'south Do Information technology Again". Multifariousness. October viii, 1975. p. 16.
16. ^ Thomas, Kevin (Oct 13, 1975). "Cosby, Poitier Back in 'Over again'". Los Angeles Times. Role Four, p. i.
17. ^ Rosenbaum, Jonathan (August 1976). "Let'south Practice It Again". The Monthly Film Bulletin. 43 (511): 166.
18. ^ "Let's Do It Again". Retrieved 2018-12-08 .
19. ^ "All-time Film Rental Champs", Variety, vii Jan 1976 p 46
20. ^ VH1.com : Will Smith : Volition Smith Secures Rights To Sidney Poitier/ Nib Cosby Flicks - Rhapsody Music Downloads
21. ^ Uptown Sabbatum Night (1974) - News

External links [edit]

• Let'due south Practice Information technology Once more at IMDb
• Let's Do It Once again at the TCM Pic Database
• Let's Practise It Over again at AllMovie
• Permit'southward Do Information technology 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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