Let s Do It Again Movie Free Download
Two blue-collar workers endeavour to con a powerful gangster.
Film Details
MPAA Rating
Genre
Release Date
1975
Distribution Company
Warner Bros. Domicile Entertainment Group; Warner Bros. Pictures Distribution
Technical Specs
Duration
1h 52m
Sound
Mono
Color
Color (Technicolor)
Synopsis
Clyde Williams and Baton Foster are blue-collar workers who promised to raise coin for their lodge, the Brother and Sisterf of Shaka. Their plan to raise the coin involves going to New Orleans and rigging a boxing lucifer past hypnotizing the scrawny underdog to make him believe he is a violent, unbeatable champ. They bet big on him, he wins, and they return dwelling with the money. But when some gangsters who lost money on the match testify up, Clyde and Billy are forced to do the same matter again so that these men can win their money back. And it remains to be seen if they can do information technology again.
Coiffure
Videos
Film Details
MPAA Rating
Genre
Release Appointment
1975
Distribution Visitor
Warner Bros. Home Entertainment Group; Warner Bros. Pictures Distribution
Technical Specs
Duration
1h 52m
Audio
Mono
Color
Color (Technicolor)
Articles
Ossie Davis (1917-2005)
Ossie Davis, the distinguished African-American grapheme actor, director and ceremonious rights activist, died of natural causes on February 4 in Miami Beach, where he was filming a film. 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 birth, the county clerk misunderstood her and thought she said "Ossie" instead of "R.C.," and the name stuck. He graduated loftier school in 1936 and was offered ii scholarships: one to Savannah State College in Georgia and the other to the famed Tuskegee Found in Alabama, just he could not afford the tuition and turned them downwards. He eventually saved enough coin to hitchhike to Washington, D.C., where he lived with relatives while attending Howard Academy and studied drama.
As much as he enjoyed studying dramatics, Davis had a hunger to practise 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-black theater ensemble in its day.
Davis' proficient looks and deep voice were impressive from the beginning, and he quickly joined the visitor and remained for three years. With the onset of Earth War II, Davis spent nearly four years in service, mainly every bit 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 stage shows for the troops.
Back in New York in 1946, Davis debuted on Broadway in Jeb, a play near 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 motion picture. Their initial romance soon developed into a lasting bond, and the ii were married on December nine, 1948.
With Hollywood making much more socially witting, adult films, particularly those that tackled themes of race (Lonely Are The Dauntless, 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 married woman Dee, was a tense Joseph L. Mankiewicz's prison drama with strong racial overtones No Way Out (1950). He followed that upwards with a part as a cab driver in Henry Hathaway'southward Fourteen Hours (1951). However for the most role, 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 song protest against the execution of Julius and Ethel Rosenberg, and an alignment with vocalizer and black activist Paul Robeson. Davis remained loyal to Robeson fifty-fifty later on he was denounced by other blackness political, sports and testify business organization 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 any wrongdoing.
If there 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 Dominicus in 1960, and followed that up a year after with his debut as a playwright - the satire, Purlie Victorious. In it, Davis starred equally Purlie, a roustabout preacher who returns to southern Georgia with a programme to buy his former master'south plantation barn and plow it into a racially integrated church.
Although not an initial success, the play would be adapted into a Tony-honor winning musical, Purlie years after. Still just as important as his stage success, was the fact that Davis' picture show roles became much more rich and varied: a liberal priest in John Huston's The Cardinal (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 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 manus at movie directing, and scored a striking with Cotton Comes to Harlem (1970), a abrupt urban activeness comedy with Godfrey Cambridge and Raymond St. Jacques as ii black cops trying to stop a con artist from stealing Harlem's poor. It'south generally considered the first major crossover film for the black market that was a hit with white audiences. Elsewhere, he constitute roles in some popular tv mini-series such equally King, 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 cast him in School Daze (1988). Davis followed that up with two more than Lee films: Practise the Right Affair (1989), and Jungle Fever (1991), which also co-starred his wife Dee. From there, Davis constitute himself in demand for senior character parts in many films throughtout the '90s: Grumpy Erstwhile Men (1993), The Client (1994), I'm Not Rappaport (1996), and HBO'south remake of 12 Angry Men (1997).
Davis and Dee historic their 50th hymeneals 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 movie called Retirement with co-stars George Segal, Rip Torn and Peter Falk.
In improver to his widow Dee, Davis is survived by 3 children, Nora Solar day, Hasna Muhammad and Guy Davis; and vii 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 Feb 4 in Miami Embankment, where he was filming a picture. He was 87. He was born Raiford Chatman Davis on December xviii, 1917 in Cogdell, Georgia. His parents called him "R.C." When his mother 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 ii 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 down. He eventually saved plenty coin to hitchhike to Washington, D.C., where he lived with relatives while attending Howard University and studied drama. Every bit much as he enjoyed studying dramatics, Davis had a hunger to do 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-black theater ensemble in its day. Davis' skilful looks and deep voice were impressive from the starting time, and he rapidly joined the visitor and remained for iii years. With the onset of Earth War II, Davis spent nearly four years in service, mainly every bit a surgical technician in an all-black Regular army infirmary in Republic of liberia, serving both wounded troops and local inhabitants earlier existence transferred to Special Services to write and produce stage 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 south. His co-star was Ruby Dee, an attractive leading lady who was 1 of the leading lights of black theater and film. Their initial romance shortly developed into a lasting bail, and the two were married on December 9, 1948. With Hollywood making much more socially conscious, adult films, specially 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 starting time movie, with which he co-starred with his married woman Dee, was a tense Joseph L. Mankiewicz's prison house drama with strong racial overtones No Mode Out (1950). He followed that upwardly with a role equally a cab driver in Henry Hathaway's Fourteen Hours (1951). Yet for the nearly part, Davis and Dee were primarily stage actors, and made few movie appearances throughout the decade. Nonetheless, in should exist noted that much of Davis fourth dimension in the '50s was spent in social causes. Among them, a song protest against the execution of Julius and Ethel Rosenberg, and an alignment with vocaliser and blackness activist Paul Robeson. Davis remained loyal to Robeson even subsequently he was denounced by other black political, sports and show 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 whatever wrongdoing. If at that place was e'er 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 Sun in 1960, and followed that up a year later with his debut equally a playwright - the satire, Purlie Victorious. In information technology, Davis starred as Purlie, a roustabout preacher who returns to southern Georgia with a program to buy his one-time main'southward plantation barn and turn it into a racially integrated church. Although not an initial success, the play would exist adjusted into a Tony-award winning musical, Purlie years later. Nevertheless just every bit important as his stage success, was the fact that Davis' film roles became much more than rich and varied: a liberal priest in John Huston'southward The Primal (1963); an unflinching tough performance as a blackness soldier who won't break against a sadistic sergeant'south 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'southward Night Gallery (1969). In 1970, he tried his hand at picture directing, and scored a hit with Cotton Comes to Harlem (1970), a sharp urban action comedy with Godfrey Cambridge and Raymond St. Jacques as two black cops trying to stop a con artist from stealing Harlem's poor. It'due south generally considered the commencement major crossover film for the black market that was a hit with white audiences. Elsewhere, he found roles in some pop television mini-series such as Male monarch, and Roots: The Next Generation (both 1978), simply for the most role, was committed to the theater. Happily, along came Spike Lee, who revived his pic career when he cast him in School Shock (1988). Davis followed that up with two more Lee films: Practice the Right Matter (1989), and Jungle Fever (1991), which also co-starred his wife Dee. From there, Davis found himself in demand for senior grapheme parts in many films throughtout the '90s: Grumpy Old Men (1993), The Client (1994), I'thousand Not Rappaport (1996), and HBO's remake of 12 Angry Men (1997). Davis and Dee celebrated their 50th wedding ceremony ceremony in 1998 with the publication of a dual autobiography, In This Life Together, and in 2004, they were amid the artists selected to receive the Kennedy Center Honors. Davis had been in Miami filming an independent moving picture called Retirement with co-stars George Segal, Rip Torn and Peter Falk. In improver to his widow Dee, Davis is survived by three children, Nora Day, Hasna Muhammad and Guy Davis; and seven grandchildren. by Michael T. Toole
Permit's Exercise It Again
Way back in the Watergate era, Warner Brothers had been reaping the successes of Uptown Saturday Nighttime (1974), and was just too eager to again tap into the considerable chemistry displayed therein by Sidney Poitier and Nib Cosby and develop another amiable buddy farce targeted to urban audiences. Allow's Do It Again (1975), recently released on DVD by Warner Home Video, barely deviates from the structure of the previous film, but the results remain agreeable enough to prove 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 driver Baton Foster (Cosby) is the pending condemnation of their neighborhood lodge building. Billy'south 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 lucifer. The plan involves entrancing the propped-up, long-shot challenger, a gangling patsy named Bootney Farnsworth (Jimmie Walker), into assertive he'southward unstoppable, and placing the lodge's funds on his winning the belt.
Of class, it improbably pays off. Unfortunately, it also gets ultimately figured out past Kansas Urban center Mack (John Amos), the French Quarter ganglord who covered the action on the fight. He has Baton and Clyde dragged dorsum to boondocks so the hapless Bootney tin have a few impressive sparring sessions before his rematch, and then be snapped out of it on fight night, when Mack'south money is riding on the challenger. The pair answer with another chancy gambit at getting out live while fooling the heavies.
Today, as well as at the fourth dimension of their release, various critics have been dismissive of the Poitier/Cosby comedies as warmed-over Amos 'northward' Andy draped in polyester, and that's less than off-white. They were, and remain, accessible crossover entertainments, that assembled enviable arrays of talented screen performers whose strengths were played to past Poitier as director. The supporting cast hither is especially strong, with Denise Nicholas and Lee Chamberlin every bit the heroes' plucky wives, Ossie Davis every bit the club 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 clean transfer in its mastering of the DVD, which is presented in an attribute ratio of 1.85:one. The mono audio is too clean, merely one wishes the familiar Curtis Mayfield/Staple Singers soundtrack had been done amend service. The but extra provided is a characteristic-length commentary by Richard Wesley, the author of the picture's screenplay, and past New York Printing critic Armond White. Wesley offers plenty 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 than information about Let's Do Information technology Again, visit Warner Video. To order Allow's Do It Again, go to TCM Shopping.
past Jay S. Steinberg
Let'southward Do It Once more
Way back in the Watergate era, Warner Brothers had been reaping the successes of Uptown Saturday Dark (1974), and was only also eager to again tap into the considerable chemical science displayed therein by Sidney Poitier and Bill Cosby and develop another amiable buddy farce targeted to urban audiences. Let's Do Information technology Once again (1975), recently released on DVD by Warner Home Video, barely deviates from the structure of the previous movie, only the results remain agreeable plenty 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 driver Billy Foster (Cosby) is the pending condemnation of their neighborhood guild building. Billy's got an audacious scheme for scraping up the payment for a new facility that trades upon Clyde'southward skill every bit an apprentice 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 society's funds on his winning the belt. Of class, information technology improbably pays off. Unfortunately, information technology likewise gets ultimately figured out by Kansas Metropolis Mack (John Amos), the French Quarter ganglord who covered the action on the fight. He has Billy and Clyde dragged back to town so the hapless Bootney tin have a few impressive sparring sessions before his rematch, and then be snapped out of it on fight night, when Mack's money is riding on the challenger. The pair reply with another chancy gambit at getting out alive while fooling the heavies. Today, likewise as at the time of their release, various critics have been dismissive of the Poitier/Cosby comedies as warmed-over Amos 'n' Andy draped in polyester, and that'southward 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 managing director. The supporting bandage hither is particularly stiff, with Denise Nicholas and Lee Chamberlin as the heroes' plucky wives, Ossie Davis equally the order elder, Mel Stuart every bit Bootney'southward handler, and Calvin Lockhart every bit Amos' underworld rival. The opening sequences characteristic brief appearances by George Foreman and Jayne Kennedy every bit 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:i. The mono audio is also clean, merely one wishes the familiar Curtis Mayfield/Staple Singers soundtrack had been washed better service. The just extra provided is a feature-length commentary by Richard Wesley, the author of the film'southward screenplay, and past 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 production in the context of its times. For more than information near Permit's Do It Over again, visit Warner Video. To lodge Permit's Do It Again, go to TCM Shopping. past Jay S. Steinberg
Quotes
Trivia
Miscellaneous Notes
Released in United States Oct 1975
Released in Us on Video July 18, 1990
Released in U.s. Winter January i, 1975
Released in United States Winter January 1, 1975
Released in United states of america on Video July eighteen, 1990
Released in U.s.a. October 1975
Source: http://www.tcm.com/tcmdb/title/16853/lets-do-it-again/
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