Bill Cosby Movie Lets Do It Again Play It
Two blue-neckband workers attempt to con a powerful gangster.
Film Details
MPAA Rating
Genre
Release Appointment
1975
Distribution Company
Warner Bros. Home Amusement Group; Warner Bros. Pictures Distribution
Technical Specs
Duration
1h 52m
Audio
Mono
Colour
Color (Technicolor)
Synopsis
Clyde Williams and Billy Foster are bluish-collar workers who promised to heighten money for their order, the Brother and Sisterf of Shaka. Their plan to raise the coin involves going to New Orleans and rigging a boxing lucifer by hypnotizing the scrawny underdog to make him believe he is a fierce, unbeatable gnaw. They bet big on him, he wins, and they return dwelling house with the money. But when some gangsters who lost money on the match show upwardly, Clyde and Billy are forced to do the same thing again so that these men tin can win their coin back. And it remains to exist seen if they can do it over again.
Crew
Videos
Motion picture Details
MPAA Rating
Genre
Release Date
1975
Distribution Visitor
Warner Bros. Home Entertainment Group; Warner Bros. Pictures Distribution
Technical Specs
Duration
1h 52m
Sound
Mono
Color
Colour (Technicolor)
Articles
Ossie Davis (1917-2005)
Ossie Davis, the distinguished African-American grapheme player, director and civil rights activist, died of natural causes on February 4 in Miami Beach, where he was filming a motion-picture show. He was 87.
He was born Raiford Chatman Davis on December 18, 1917 in Cogdell, Georgia. His parents called him "R.C." When his mother registered his nascence, the county clerk misunderstood her and thought she said "Ossie" instead of "R.C.," and the proper name stuck. He graduated high school in 1936 and was offered two scholarships: one to Savannah State Higher in Georgia and the other to the famed Tuskegee Institute in Alabama, merely he could not afford the tuition and turned them downward. He eventually saved enough money to hitchhike to Washington, D.C., where he lived with relatives while attending Howard University and studied drama.
Equally much as he enjoyed studying dramatics, Davis had a hunger to practice the trade professionally and in 1939, he left Howard University and headed to Harlem to work in the Rose McClendon Players, a highly respected, all-blackness theater ensemble in its mean solar day.
Davis' good looks and deep voice were impressive from the beginning, and he quickly joined the company and remained for iii years. With the onset of World War Two, Davis spent nearly iv years in service, mainly as a surgical technician in an all-black Ground forces hospital in Republic of liberia, serving both wounded troops and local inhabitants before being transferred to Special Services to write and produce stage shows for the troops.
Dorsum in New York in 1946, Davis debuted on Broadway in Jeb, a play about a returning black soldier who runs afoul of the Ku Klux Klan in the deep south. His co-star was Scarlet Dee, an bonny leading lady who was one of the leading lights of black theater and moving-picture show. Their initial romance soon developed into a lasting bond, and the ii were married on December 9, 1948.
With Hollywood making much more socially conscious, adult films, particularly those that tackled themes of race (Alone Are The Brave, Pinky, Lost Boundaries all 1949), information technology wasn't long before Hollywood came calling for Davis. His first pic, with which he co-starred with his wife Dee, was a tense Joseph Fifty. Mankiewicz's prison drama with potent racial overtones No Way Out (1950). He followed that upwards with a part as a cab commuter in Henry Hathaway's Fourteen Hours (1951). All the same for the about part, Davis and Dee were primarily stage actors, and made few film appearances throughout the decade.
Nonetheless, in should be noted that much of Davis fourth dimension in the '50s was spent in social causes. Amid them, a vocal protest confronting the execution of Julius and Ethel Rosenberg, and an alignment with singer and black activist Paul Robeson. Davis remained loyal to Robeson fifty-fifty after he was denounced by other black political, sports and evidence business figures for his openly communist and pro-Soviet sympathies. Such amalgamation led them to suspicions in the anti-Communist witch hunts of the early '50s, but Davis, nor his wife Dee, were never openly accused of whatever wrongdoing.
If at that place was ever a decade that Ossie Davis was destined for greatness, it was undoubtly the '60s. He began with a hit Broadway show, A Raisin in the Sun in 1960, and followed that upward a year afterward with his debut every bit a playwright - the satire, Purlie Victorious. In it, Davis starred as Purlie, a roustabout preacher who returns to southern Georgia with a plan to purchase his former main's plantation befouled and turn information technology into a racially integrated church.
Although not an initial success, the play would be adapted into a Tony-laurels winning musical, Purlie years afterward. Even so but every bit of import as his stage success, was the fact that Davis' film roles became much more rich and varied: a liberal priest in John Huston'southward The Cardinal (1963); an unflinching tough performance as a blackness soldier who won't break against a sadistic sergeant's racial taunts in Sidney Lumet's searing state of war drama The Hill (1965); and a shrewd, evil butler who turns the tables on his employer in Rod Serling's Night Gallery (1969).
In 1970, he tried his hand at film directing, and scored a hit with Cotton Comes to Harlem (1970), a sharp urban activeness comedy with Godfrey Cambridge and Raymond St. Jacques as two blackness cops trying to stop a con artist from stealing Harlem'southward poor. It'due south more often than not considered the first major crossover film for the black market that was a hit with white audiences. Elsewhere, he found roles in some popular television receiver mini-series such as King, and Roots: The Next Generation (both 1978), but for the most office, was committed to the theater.
Happily, forth came Spike Lee, who revived his film career when he cast him in School Daze (1988). Davis followed that up with two more Lee films: Exercise the Right Thing (1989), and Jungle Fever (1991), which likewise co-starred his married woman Dee. From at that place, Davis plant himself in need for senior graphic symbol parts in many films throughtout the '90s: Grumpy Quondam Men (1993), The Client (1994), I'yard Not Rappaport (1996), and HBO's remake of 12 Angry Men (1997).
Davis and Dee celebrated their 50th wedding anniversary in 1998 with the publication of a dual autobiography, In This Life Together, and in 2004, they were amidst the artists selected to receive the Kennedy Centre Honors. Davis had been in Miami filming an independent movie chosen Retirement with co-stars George Segal, Rip Torn and Peter Falk.
In add-on to his widow Dee, Davis is survived past 3 children, Nora Twenty-four hour period, Hasna Muhammad and Guy Davis; and 7 grandchildren.
past Michael T. Toole
Ossie Davis (1917-2005)
Ossie Davis, the distinguished African-American graphic symbol actor, director and ceremonious rights activist, died of natural causes on February 4 in Miami Beach, where he was filming a picture show. He was 87. He was built-in Raiford Chatman Davis on Dec 18, 1917 in Cogdell, Georgia. His parents called him "R.C." When his mother registered his nascency, the county clerk misunderstood her and thought she said "Ossie" instead of "R.C.," and the proper noun stuck. He graduated high school in 1936 and was offered 2 scholarships: one to Savannah State College in Georgia and the other to the famed Tuskegee Plant in Alabama, but he could not afford the tuition and turned them down. He eventually saved enough money to hitchhike to Washington, D.C., where he lived with relatives while attending Howard Academy and studied drama. Equally much as he enjoyed studying dramatics, Davis had a hunger to practice the trade professionally and in 1939, he left Howard University and headed to Harlem to piece of work in the Rose McClendon Players, a highly respected, all-black theater ensemble in its day. Davis' good looks and deep voice were impressive from the beginning, and he quickly joined the company and remained for three years. With the onset of World State of war 2, Davis spent nearly four years in service, mainly as a surgical technician in an all-black Regular army infirmary in Liberia, serving both wounded troops and local inhabitants before being transferred to Special Services to write and produce phase shows for the troops. Back in New York in 1946, Davis debuted on Broadway in Jeb, a play near a returning black soldier who runs afoul of the Ku Klux Klan in the deep southward. His co-star was Ruby Dee, an attractive leading lady who was one of the leading lights of blackness theater and film. Their initial romance soon adult into a lasting bond, and the two were married on December 9, 1948. With Hollywood making much more socially witting, developed films, peculiarly those that tackled themes of race (Lonely Are The Brave, Pinky, Lost Boundaries all 1949), it wasn't long before Hollywood came calling for Davis. His first film, with which he co-starred with his wife Dee, was a tense Joseph Fifty. Mankiewicz's prison house drama with strong racial overtones No Way Out (1950). He followed that up with a role as a cab driver in Henry Hathaway's Fourteen Hours (1951). Yet for the nigh part, Davis and Dee were primarily stage actors, and made few film appearances throughout the decade. However, in should be noted that much of Davis time in the '50s was spent in social causes. Among them, a vocal protest confronting the execution of Julius and Ethel Rosenberg, and an alignment with vocaliser and black activist Paul Robeson. Davis remained loyal to Robeson fifty-fifty later on he was denounced past other black political, sports and evidence concern figures for his openly communist and pro-Soviet sympathies. Such amalgamation led them to suspicions in the anti-Communist witch hunts of the early '50s, but Davis, nor his wife Dee, were never openly defendant of any wrongdoing. If in that location was ever a decade that Ossie Davis was destined for greatness, it was undoubtly the '60s. He began with a hit Broadway bear witness, A Raisin in the Sun in 1960, and followed that up a yr later with his debut as a playwright - the satire, Purlie Victorious. In it, Davis starred as Purlie, a roustabout preacher who returns to southern Georgia with a plan to purchase his former master's plantation befouled and turn it into a racially integrated church. Although not an initial success, the play would be adapted into a Tony-award winning musical, Purlie years subsequently. Yet just every bit important every bit his stage success, was the fact that Davis' pic roles became much more rich and varied: a liberal priest in John Huston's The Fundamental (1963); an unflinching tough performance equally a black soldier who won't break against a sadistic sergeant's racial taunts in Sidney Lumet's searing state of war drama The Hill (1965); and a shrewd, evil butler who turns the tables on his employer in Rod Serling's Night Gallery (1969). In 1970, he tried his paw at pic directing, and scored a hit with Cotton wool Comes to Harlem (1970), a sharp urban activeness comedy with Godfrey Cambridge and Raymond St. Jacques as two black cops trying to stop a con creative person from stealing Harlem's poor. It's generally considered the first major crossover film for the black market that was a hit with white audiences. Elsewhere, he plant roles in some popular television mini-series such as King, and Roots: The Next Generation (both 1978), just for the virtually part, was committed to the theater. Happily, along came Fasten Lee, who revived his movie career when he bandage him in School Daze (1988). Davis followed that up with ii more Lee films: Do the Correct Thing (1989), and Jungle Fever (1991), which also co-starred his wife Dee. From at that place, Davis constitute himself in demand for senior graphic symbol parts in many films throughtout the '90s: Grumpy Old Men (1993), The Client (1994), I'm Not Rappaport (1996), and HBO's remake of 12 Angry Men (1997). Davis and Dee celebrated their 50th nuptials anniversary in 1998 with the publication of a dual autobiography, In This Life Together, and in 2004, they were among the artists selected to receive the Kennedy Center Honors. Davis had been in Miami filming an independent picture show called Retirement with co-stars George Segal, Rip Torn and Peter Falk. In add-on to his widow Dee, Davis is survived by three children, Nora Twenty-four hours, Hasna Muhammad and Guy Davis; and seven grandchildren. by Michael T. Toole
Let's Do It Again
Way dorsum in the Watergate era, Warner Brothers had been reaping the successes of Uptown Sat Night (1974), and was merely too eager to again tap into the considerable chemistry displayed therein by Sidney Poitier and Bill Cosby and develop some other amiable buddy farce targeted to urban audiences. Let's Practice It Over again (1975), recently released on DVD by Warner Abode Video, barely deviates from the structure of the previous film, but the results remain amusing enough to show that it was worth returning to the well.
The setting this time is inner-urban center Atlanta, and the dilemma facing milkman Clyde Williams (Poitier) and forklift commuter Billy Foster (Cosby) is the pending condemnation of their neighborhood guild building. Billy's got an adventurous scheme for scraping upwardly the payment for a new facility that trades upon Clyde's skill as an amateur hypnotist. They pack their wives off to New Orleans on the pretext of a vacation, which includes taking in a middleweight championship boxing match. The plan involves entrancing the propped-up, long-shot challenger, a leggy patsy named Bootney Farnsworth (Jimmie Walker), into believing he'southward unstoppable, and placing the lodge's funds on his winning the belt.
Of course, it improbably pays off. Unfortunately, it too gets ultimately figured out by Kansas City Mack (John Amos), the French Quarter ganglord who covered the activeness on the fight. He has Billy and Clyde dragged back to town then the hapless Bootney can have a few impressive sparring sessions before his rematch, and then be snapped out of information technology on fight night, when Mack's money is riding on the challenger. The pair answer with another chancy gambit at getting out alive while fooling the heavies.
Today, as well as at the time of their release, various critics accept been dismissive of the Poitier/Cosby comedies as warmed-over Amos 'n' Andy draped in polyester, and that's less than fair. They were, and remain, accessible crossover entertainments, that assembled enviable arrays of talented screen performers whose strengths were played to by Poitier every bit director. The supporting cast here is particularly strong, with Denise Nicholas and Lee Chamberlin as the heroes' plucky wives, Ossie Davis as the lodge elder, Mel Stuart every bit Bootney'south handler, and Calvin Lockhart as Amos' underworld rival. The opening sequences feature brief appearances by George Foreman and Jayne Kennedy as co-workers of Cosby's.
Warner provided an exceptionally make clean transfer in its mastering of the DVD, which is presented in an aspect ratio of 1.85:1. The mono audio is besides clean, but one wishes the familiar Curtis Mayfield/Staple Singers soundtrack had been done improve service. The only actress provided is a feature-length commentary by Richard Wesley, the author of the moving-picture show'southward screenplay, and by New York Press critic Armond White. Wesley offers enough of anecdotes regarding the projection's development, and White ably sets out the significance of the production in the context of its times.
For more information about Let's Do It Over again, visit Warner Video. To order Let's Do It Once again, go to TCM Shopping.
by Jay S. Steinberg
Let'southward Do Information technology Again
Way back in the Watergate era, Warner Brothers had been reaping the successes of Uptown Saturday Nighttime (1974), and was only too eager to again tap into the considerable chemistry displayed therein by Sidney Poitier and Bill Cosby and develop another affable buddy farce targeted to urban audiences. Allow'southward Do It Again (1975), recently released on DVD past Warner Home Video, barely deviates from the structure of the previous picture show, merely the results remain agreeable plenty to evidence that it was worth returning to the well. The setting this fourth dimension is inner-urban center Atlanta, and the dilemma facing milkman Clyde Williams (Poitier) and forklift commuter Baton Foster (Cosby) is the pending condemnation of their neighborhood club building. Baton's got an adventurous scheme for scraping upwards the payment for a new facility that trades upon Clyde'due south skill as an amateur hypnotist. They pack their wives off to New Orleans on the pretext of a vacation, which includes taking in a middleweight championship boxing lucifer. The plan involves entrancing the propped-up, long-shot challenger, a gangling patsy named Bootney Farnsworth (Jimmie Walker), into believing he'south unstoppable, and placing the lodge'south funds on his winning the belt. Of course, it improbably pays off. Unfortunately, it also gets ultimately figured out by Kansas City Mack (John Amos), the French Quarter ganglord who covered the activity on the fight. He has Billy and Clyde dragged back to town so the hapless Bootney can have a few impressive sparring sessions earlier his rematch, and so be snapped out of it on fight nighttime, when Mack'south coin is riding on the challenger. The pair reply with some other chancy gambit at getting out live while fooling the heavies. Today, also every bit at the time of their release, diverse critics have been dismissive of the Poitier/Cosby comedies as warmed-over Amos 'n' Andy draped in polyester, and that's less than fair. They were, and remain, accessible crossover entertainments, that assembled enviable arrays of talented screen performers whose strengths were played to by Poitier as director. The supporting cast hither is particularly strong, with Denise Nicholas and Lee Chamberlin as the heroes' plucky wives, Ossie Davis as the gild elder, Mel Stuart as Bootney's handler, and Calvin Lockhart as Amos' underworld rival. The opening sequences feature brief appearances by George Foreman and Jayne Kennedy as co-workers of Cosby'southward. Warner provided an uncommonly make clean transfer in its mastering of the DVD, which is presented in an aspect ratio of ane.85:1. The mono audio is likewise clean, but one wishes the familiar Curtis Mayfield/Staple Singers soundtrack had been done better service. The simply extra provided is a feature-length commentary past Richard Wesley, the author of the picture show's screenplay, and by New York Printing critic Armond White. Wesley offers plenty of anecdotes regarding the project'south development, and White ably sets out the significance of the product in the context of its times. For more information about Let's Practice Information technology Again, visit Warner Video. To order Let's Exercise It Again, become to TCM Shopping. by Jay S. Steinberg
Quotes
Trivia
Miscellaneous Notes
Released in U.s. October 1975
Released in Usa on Video July 18, 1990
Released in United States Winter January i, 1975
Released in The states Winter Jan 1, 1975
Released in Usa on Video July 18, 1990
Released in United States October 1975
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Source: http://www.tcm.com/tcmdb/title/16853/lets-do-it-again/
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