Lets Get That Juice Go Again
Ii blue-collar workers try to con a powerful gangster.
Film Details
MPAA Rating
Genre
Release Appointment
1975
Distribution Company
Warner Bros. Dwelling house Entertainment Grouping; Warner Bros. Pictures Distribution
Technical Specs
Elapsing
1h 52m
Audio
Mono
Color
Color (Technicolor)
Synopsis
Clyde Williams and Billy Foster are blueish-collar workers who promised to heighten money for their lodge, the Brother and Sisterf of Shaka. Their program to raise the money involves going to New Orleans and rigging a boxing friction match past hypnotizing the scrawny underdog to make him believe he is a fierce, unbeatable champ. They bet large on him, he wins, and they return home with the coin. Simply when some gangsters who lost money on the match prove upwards, Clyde and Billy are forced to do the same thing again so that these men can win their money back. And information technology remains to be seen if they can do information technology once more.
Crew
Videos
Film Details
MPAA Rating
Genre
Release Engagement
1975
Distribution Company
Warner Bros. Home Entertainment Group; Warner Bros. Pictures Distribution
Technical Specs
Duration
1h 52m
Sound
Mono
Color
Color (Technicolor)
Articles
Ossie Davis (1917-2005)
Ossie Davis, the distinguished African-American character actor, director and civil rights activist, died of natural causes on Feb 4 in Miami Beach, where he was filming a movie. He was 87.
He was built-in Raiford Chatman Davis on December 18, 1917 in Cogdell, Georgia. His parents called him "R.C." When his mother registered his nascence, the canton clerk misunderstood her and thought she said "Ossie" instead of "R.C.," and the 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 Establish in Alabama, but he could not beget the tuition and turned them down. He eventually saved enough money to hitchhike to Washington, D.C., where he lived with relatives while attention Howard University and studied drama.
As much every bit he enjoyed studying dramatics, Davis had a hunger to do the merchandise 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 outset, and he quickly joined the company and remained for three years. With the onset of World War II, Davis spent almost four years in service, mainly as a surgical technician in an all-black Ground forces hospital 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 about a returning blackness soldier who runs afoul of the Ku Klux Klan in the deep south. His co-star was Ruby Dee, an attractive leading lady who was one of the leading lights of black theater and film. Their initial romance soon developed into a lasting bond, and the 2 were married on December ix, 1948.
With Hollywood making much more socially conscious, adult films, particularly those that tackled themes of race (Lonely 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 Style Out (1950). He followed that up with a role as a cab driver in Henry Hathaway'due south Fourteen Hours (1951). Yet for the most role, Davis and Dee were primarily stage actors, and made few film appearances throughout the decade.
Nonetheless, in should exist noted that much of Davis time in the '50s was spent in social causes. Among them, a vocal protestation against the execution of Julius and Ethel Rosenberg, and an alignment with singer and black activist Paul Robeson. Davis remained loyal to Robeson even after he was denounced by other black political, sports and bear witness business figures for his openly communist and pro-Soviet sympathies. Such affiliation led them to suspicions in the anti-Communist witch hunts of the early '50s, but Davis, nor his married woman Dee, were never openly accused of any wrongdoing.
If there was ever a decade that Ossie Davis was destined for greatness, it was undoubtly the '60s. He began with a striking Broadway show, A Raisin in the Lord's day in 1960, and followed that upwards a year later 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 programme to purchase his quondam primary's plantation befouled and plough it into a racially integrated church.
Although non an initial success, the play would be adapted into a Tony-accolade winning musical, Purlie years later. Still only every bit important equally his stage success, was the fact that Davis' picture show roles became much more than rich and varied: a liberal priest in John Huston's 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'southward searing war drama The Hill (1965); and a shrewd, evil butler who turns the tables on his employer in Rod Serling'due south Night Gallery (1969).
In 1970, he tried his paw at flick directing, and scored a striking with Cotton Comes to Harlem (1970), a sharp urban action comedy with Godfrey Cambridge and Raymond St. Jacques as two blackness cops trying to cease a con artist from stealing Harlem's poor. It's by and large considered the start major crossover film for the black market that was a striking with white audiences. Elsewhere, he constitute roles in some popular television mini-series such equally King, and Roots: The Side by side Generation (both 1978), just for the most part, was committed to the theater.
Happily, along came Spike Lee, who revived his film career when he cast him in School Daze (1988). Davis followed that upwards with two more Lee films: Do the Right Matter (1989), and Jungle Fever (1991), which also co-starred his wife Dee. From in that location, Davis establish himself in demand for senior character parts in many films throughtout the '90s: Grumpy Old Men (1993), The Client (1994), I'm Non Rappaport (1996), and HBO'due south remake of 12 Aroused 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 amongst the artists selected to receive the Kennedy Center Honors. Davis had been in Miami filming an contained movie called Retirement with co-stars George Segal, Rip Torn and Peter Falk.
In addition 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
Ossie Davis (1917-2005)
Ossie Davis, the distinguished African-American character actor, director and civil rights activist, died of natural causes on February iv in Miami Beach, where he was filming a movie. He was 87. He was born Raiford Chatman Davis on Dec xviii, 1917 in Cogdell, Georgia. His parents called him "R.C." When his female parent registered his birth, the county clerk misunderstood her and thought she said "Ossie" instead of "R.C.," and the name stuck. He graduated high school in 1936 and was offered two scholarships: one to Savannah State College in Georgia and the other to the famed Tuskegee Constitute in Alabama, but he could not afford the tuition and turned them downwardly. He eventually saved enough money to hitchhike to Washington, D.C., where he lived with relatives while attending Howard University and studied drama. As much as he enjoyed studying dramatics, Davis had a hunger to do the trade professionally and in 1939, he left Howard Academy and headed to Harlem to work in the Rose McClendon Players, a highly respected, all-blackness theater ensemble in its day. Davis' expert looks and deep voice were impressive from the commencement, and he speedily joined the company and remained for iii years. With the onset of World War II, Davis spent about iv years in service, mainly equally a surgical technician in an all-blackness Army infirmary in Republic of 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 about a returning black soldier who runs afoul of the Ku Klux Klan in the deep s. His co-star was Crimson Dee, an attractive leading lady who was one of the leading lights of black theater and film. Their initial romance before long developed into a lasting bond, and the ii were married on December 9, 1948. With Hollywood making much more than socially conscious, adult films, particularly those that tackled themes of race (Solitary Are The Brave, Pinky, Lost Boundaries all 1949), information technology wasn't long before Hollywood came calling for Davis. His first picture, with which he co-starred with his wife Dee, was a tense Joseph L. Mankiewicz's prison drama with stiff racial overtones No Way Out (1950). He followed that up with a office every bit a cab driver in Henry Hathaway'southward Xiv Hours (1951). Yet for the virtually role, Davis and Dee were primarily stage actors, and made few moving-picture show appearances throughout the decade. However, in should be noted that much of Davis fourth dimension in the '50s was spent in social causes. Among them, a vocal protest against the execution of Julius and Ethel Rosenberg, and an alignment with vocalist and black activist Paul Robeson. Davis remained loyal to Robeson even afterward he was denounced by other black political, sports and show business organisation figures for his openly communist and pro-Soviet sympathies. Such affiliation 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 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 evidence, A Raisin in the Dominicus in 1960, and followed that up a year subsequently with his debut every bit a playwright - the satire, Purlie Victorious. In it, Davis starred equally Purlie, a roustabout preacher who returns to southern Georgia with a program to buy his one-time master'due south plantation barn and plough it into a racially integrated church. Although not an initial success, the play would exist adapted into a Tony-award winning musical, Purlie years later. Yet just as important as his phase success, was the fact that Davis' motion picture roles became much more rich and varied: a liberal priest in John Huston'south The Fundamental (1963); an unflinching tough performance equally a black soldier who won't interruption confronting a sadistic sergeant's racial taunts in Sidney Lumet's searing war drama The Hill (1965); and a shrewd, evil butler who turns the tables on his employer in Rod Serling'due south Dark Gallery (1969). In 1970, he tried his hand at film directing, and scored a hit with Cotton fiber Comes to Harlem (1970), a sharp urban action comedy with Godfrey Cambridge and Raymond St. Jacques as two blackness cops trying to stop a con artist from stealing Harlem's poor. It'southward generally considered the commencement major crossover film for the black market that was a striking with white audiences. Elsewhere, he found roles in some popular tv mini-series such as Rex, and Roots: The Next Generation (both 1978), but for the near part, was committed to the theater. Happily, along came Spike Lee, who revived his film career when he bandage him in School Shock (1988). Davis followed that upwardly with two more Lee films: Do the Right Matter (1989), and Jungle Fever (1991), which also co-starred his married woman Dee. From there, Davis found himself in demand for senior character parts in many films throughtout the '90s: Grumpy Old Men (1993), The Client (1994), I'm Non Rappaport (1996), and HBO's remake of 12 Angry Men (1997). Davis and Dee celebrated their 50th wedding ceremony 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 Heart Honors. Davis had been in Miami filming an independent moving picture chosen Retirement with co-stars George Segal, Rip Torn and Peter Falk. In addition to his widow Dee, Davis is survived by three children, Nora Day, Hasna Muhammad and Guy Davis; and 7 grandchildren. past Michael T. Toole
Let's Do It Again
Way back in the Watergate era, Warner Brothers had been reaping the successes of Uptown Saturday Dark (1974), and was simply too eager to once again tap into the considerable chemistry displayed therein by Sidney Poitier and Pecker Cosby and develop some other amiable buddy farce targeted to urban audiences. Let's Do It Over again (1975), recently released on DVD by Warner Home Video, barely deviates from the structure of the previous motion-picture show, only the results remain amusing enough to evidence 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 Baton Foster (Cosby) is the pending condemnation of their neighborhood lodge building. Billy's got an audacious scheme for scraping up the payment for a new facility that trades upon Clyde'due south skill every bit an amateur hypnotist. They pack their wives off to New Orleans on the pretext of a vacation, which includes taking in a middleweight championship battle lucifer. The plan involves entrancing the propped-up, long-shot challenger, a gangling patsy named Bootney Farnsworth (Jimmie Walker), into believing he's unstoppable, and placing the lodge'south funds on his winning the belt.
Of form, it improbably pays off. Unfortunately, information technology also gets ultimately figured out by Kansas City Mack (John Amos), the French Quarter ganglord who covered the action on the fight. He has Baton and Clyde dragged back to town so the hapless Bootney tin can take a few impressive sparring sessions earlier his rematch, and and so exist snapped out of it on fight night, when Mack's money is riding on the challenger. The pair answer with some other hazardous gambit at getting out alive while fooling the heavies.
Today, every bit well as at the time of their release, diverse critics have been dismissive of the Poitier/Cosby comedies every bit warmed-over Amos 'due north' 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 bandage here 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 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 as well clean, but ane wishes the familiar Curtis Mayfield/Staple Singers soundtrack had been done better service. The but extra provided is a feature-length commentary by Richard Wesley, the author of the film's screenplay, and by New York Press critic Armond White. Wesley offers plenty of anecdotes regarding the project's development, and White ably sets out the significance of the product in the context of its times.
For more information virtually Allow'due south Practice It Again, visit Warner Video. To order Let'southward Practise Information technology Again, get to TCM Shopping.
past Jay Southward. Steinberg
Permit'south Do It Once again
Way dorsum in the Watergate era, Warner Brothers had been reaping the successes of Uptown Sabbatum Night (1974), and was only too eager to over again tap into the considerable chemistry displayed therein by Sidney Poitier and Bill Cosby and develop another amiable buddy farce targeted to urban audiences. Let'southward Do It Again (1975), recently released on DVD past Warner Home Video, barely deviates from the structure of the previous picture, merely the results remain agreeable enough to show that it was worth returning to the well. The setting this time is inner-city Atlanta, and the dilemma facing milkman Clyde Williams (Poitier) and forklift commuter Billy Foster (Cosby) is the pending condemnation of their neighborhood lodge building. Billy's got an audacious scheme for scraping up 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-upward, long-shot challenger, a gangling patsy named Bootney Farnsworth (Jimmie Walker), into believing he'due south unstoppable, and placing the lodge's funds on his winning the chugalug. Of grade, it improbably pays off. Unfortunately, it likewise gets ultimately figured out by Kansas City Mack (John Amos), the French Quarter ganglord who covered the action on the fight. He has Billy and Clyde dragged back to boondocks so the hapless Bootney tin can take a few impressive sparring sessions before his rematch, then be snapped out of it on fight dark, when Mack'south coin is riding on the challenger. The pair answer with another chancy gambit at getting out alive while fooling the heavies. Today, equally well as at the time of their release, diverse critics take been dismissive of the Poitier/Cosby comedies as warmed-over Amos 'n' Andy draped in polyester, and that'south less than fair. They were, and remain, attainable crossover entertainments, that assembled enviable arrays of talented screen performers whose strengths were played to by Poitier equally director. The supporting cast hither is particularly strong, with Denise Nicholas and Lee Chamberlin as the heroes' plucky wives, Ossie Davis as the social club elder, Mel Stuart every bit Bootney's handler, and Calvin Lockhart as Amos' underworld rival. The opening sequences feature brief appearances past George Foreman and Jayne Kennedy every bit co-workers of Cosby's. Warner provided an exceptionally clean transfer in its mastering of the DVD, which is presented in an aspect ratio of ane.85:one. The mono audio is besides clean, but i wishes the familiar Curtis Mayfield/Staple Singers soundtrack had been done better service. The only extra provided is a feature-length commentary by Richard Wesley, the author of the motion-picture show's screenplay, and by New York Printing critic Armond White. Wesley offers enough of anecdotes regarding the project'southward development, and White ably sets out the significance of the production in the context of its times. For more information about Permit's Do It Again, visit Warner Video. To club Let's Exercise It Once more, go to TCM Shopping. past Jay S. Steinberg
Quotes
Trivia
Miscellaneous Notes
Released in United States October 1975
Released in United States on Video July 18, 1990
Released in U.s. Wintertime Jan i, 1975
Released in United states of america Winter Jan ane, 1975
Released in United States on Video July xviii, 1990
Released in United states of america October 1975
Source: https://www.tcm.com/tcmdb/title/16853/lets-do-it-again/
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