where can i find points on the novel "in the heat of the night". If you know please answer quickly!!!!!!!!!!!!

Answer 1

It'd be a lot easier for you to read the story yourself and do your own damn homework.

Answer 2

Fresh and perceptive, In the Heat of the Night is by turns amusing, clever, dangerous and ever so slightly wonderful in its central performances. On a dark Mississippi night the late train draws into Sparta, a small, quiet town. Slowing to a halt, only a single passenger, Virgil Tibbs (Sidney Poitier), alights onto the deserted platform. At the same time Sam Wood (Warren Oates), a police deputy, patrols the streets. So late is the hour that even the pool hall is long closed, discharging its itinerant patrons. With only the radio to keep him company, Sam cruises the familiar route. Then, without warning, Sam catches sight of a misshapen bundle in the headlight's glare. Investigating he discovers a body, its skull caved in and blood still wet.
When Sheriff Bill Gillespie (Rod Steiger) arrives on the scene, he quickly establishes that the victim is Philip Colbert (Jack Teter). An industrialist who hoped to found a large factory in the town, Colbert is possibly the worst target that the murderer could have chosen. Obviously the killer must be caught soon, especially if he's a drifter who could have already moved past the town limits. Thus Bill sends his deputies out to comb the streets and dives, looking for the unfamiliar. The obvious suspect is Eric Endicott (Larry Gates), a wealthy and powerful local farm-owner, but that's unthinkable. While Endicott may have detested Colbert's equal opportunity plans, would he have stooped to murder? No, not in Bill's mind. He wants a suspect and Harvey Oberst (Scott Wilson) turns out to be it.

While the sight of a non-white actor headlining a Hollywood film is now fairly common, though still considered a risk, back in 1967 this was unheard of. The most remarkable quality of In the Heat of the Night is that it functions almost independent of this fact; it's an excellent film in its own right, not merely a "message" picture. The basis of this success lies in the central dynamic between Tibbs and Gillespie. They're both difficult men, obstinate and stubborn, yet sharp enough to recognise when they're wrong. Underneath they're similarly driven (neither is married, both want to crack the case) yet initially the colour barrier separates them. Only by being forced into close proximity, into conflict and resolution, do they reach understanding. What makes this work for In the Heat of the Night is that neither are compromised; both have prejudices and weaknesses common to us all.

In order to give this unlikely alliance life, to make it breathe and prosper, director Norman Jewison had to take great care in his casting. Few indeed are those who could have, individually and together, hit the perfect emotional notes that In the Heat of the Night requires. Poitier is tremendous, being a mix of clever, empathetic, superior and dedicated. Smart enough to realise that he's been set up for a fall, his vanity allows Steiger the opportunity for manipulation. As a small-town hick sheriff, unused to dealing with the details of homicide, Steiger is equally stunning. Curiously vulnerable when assessing himself, there is a steely resolve under his skin. Since one cannot solve the case without the other, an accommodation is reached. While the rest of the cast shine less brightly, all of them click with the atmosphere of In the Heat of the Night. Thus the overall impact is like a home-made stew, thick and full of nourishing chunks.

Because the approach of In the Heat of the Night is so subtle, it's easy to overlook its other strengths; namely the script and photography. The former commends itself by being dramatically rigorous, individually perceptive and very entertaining. Since the plot makes perfect sense, every event slotting into a logical matrix, it's a rewarding experience; you can make educated guesses and not feel cheated when you're wrong. Through its observations of the human condition, the screenplay reveals deep pools of feeling (made poignant by the cast). Haskell Wexler's camerawork also deserves mention for at least two special moments. When Tibbs first descends from the train, we see only this traveller's bottom half; thus we're as shocked as Sam when he comes across a possible suspect. Even better, when Sam comes across the body, his deceleration is violent; to simulate this the camera stops then jerks forward against the taillight. It's impressive and effective.

A delightful aspect of Jewison's drama is its ability to withstand, and even gain stature from, repeated viewing. The first time around we observe and learn with the characters, recoiling with each shock and stumbling over worthless clues. Subsequently we know the twists and turns of Stirling Silliphant's script, thus our attention can remain focused on the cast and the aleatoric forces which place Tibbs in Sparta. With this comes understanding, the joy of seeing men reconsider their entrenched opinions and learn a little humility. Of course Sparta is located in the Deep South and a single episode of co-operation won't reverse decades of racism. The power of In the Heat of the Night lies in a recognition of this fact, that every journey begins with a single stride. This film is just such a step.

Answer 3

I don't know that novel, but you might want to check amazon.com. I got a lot of older books there used for a good price before.

Answer 4

Check amazon

Answer 5

I have no idea what you are talking about..when you refer to POINTS.. I have never heard of such a thing concerning a novel...

Answer 6

go to google