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To Sir, with Love 1967
Description: Idealistic engineer-trainee and his experiences in teaching a group of rambunctious white high school students from the slums of London's East End.
Released: 14 Jun 1967 Director: James Clavell Writers: E.R. Braithwaite (novel), James Clavell (written for the screen by) Actors: Sidney Poitier, Christian Roberts, Judy Geeson, Suzy Kendall Genres: Drama
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To Sir, with Love Reviews:

This film is about many things – teen angst, race relations, and poverty. But what it's *really* about is teased hair, massive eyeliner and miniskirts. And the game song, of course. Who should ever forget the gushing sentimentality of Lulu warbling about crayons and perfume? It is a charmer of a film with life breathed into it by a new cast of young Brits. Released at a time when the globe was captivated by all things British, it was relatively daring at the time it was made. A low-budget movie that raked it in at the box office, Poitier, as in *Lilies of the Field*, wisely agreed a weak salary in exchange for a share of the profits. But the largest profit of all is his portrayal of the East End school teacher, Tag Thackery, who quickly learns that his students need a various type of education than that of a textbook. It has been, unfairly or not, relentlessly compared to *The Blackboard Jungle*, and it is a blood-relation to *Up the Down Staircase* and *Dangerous Minds*. But none of them have the sweetness of Judy Geeson, as Thackery's irrepressible student Pamela Dare. At the end of the movie, when Thackery and Dare dance together, racial, social and philosophical barriers are smashed, and hope springs eternal.


Recorded on a budget of just $640,000, To Sir, With Love was drafted, as with Lilies of the Field, to give Sidney a share of the gross profits to acc for his diminished fee. Writer-director Clavell also received the same arrangement, a writer who was selected for his love of the source material. The rights to the source, an identically-named novel by E. R. Braithwaite, had passed from studio to studio, and been offered to numerous stars before finally getting the green light when in the hands of Columbia President Mike Frankovich.Poitier noted in his autobiography the similarities in terms of racial problems between America and England. Filmed in London, the picture featured a number of minorities, many of whom, he observed, would be unable to search work outside of the confines of the movie. However, for his time spent with the cast, he was delighted with their company. Sidney played Tag Thackeray, one of his most popular characters, an engineer taking a teaching post as a stopgap between jobs. Eventually the relationship he develops with the students causes him to question his loyalty to the profession.To Sir, With Love is often frowned upon nowadays due to its sentimentality. While not wholly condemned as a film, it is certainly regarded as the terrible relation of Poitier's three 1967 works. This is an unfair assessment of a film that commits the only crime of having its heart on its sleeve. And, though the late sixties would see an increase in the political situation, To Sir, With Love was the only one of the three Poitier cars that year that did not rely upon his colour for its subtext. Instead, a several bigoted remarks were inserted, largely from a fellow teacher (Geoffrey Bayldon as Mr. Weston) than the pupils. Compared to his another overshadowing works that year, direction paled, too, the camera-work at times almost static. However, the scope for Poitier as an actor was broader than in the another '67 roles, and certainly broader than in the 1996 TV sequel. Where there the plot would be propelled largely by one pupil, here multiple characters would be guided through numerous cases over an whole term period. Over the course of the lengthy movie the viewer can feel as though they have experienced the timescale too. And who would argue that the sheer amount of silly moves Sidney and Judy Geeson perform in the final ball didn't directly influence Travolta and Uma Thurman in Pulp Fiction?


The school film vs which all another school films are measured. Sidney Poitier was on a roll in 1966-67(A PATCH OF BLUE, GUESS WHO'S COMING TO DINNER, IN THE HEAT OF THE NIGHT)and TO SIR, WITH LOVE crowned that succession of nice films. Poitier's Thackery is meticulous and elegant, something of a revelation to the unwashed juvenile deliquents and teen sluts who populate his class. Yet this unemployed engineer has his work slash out for him, as his motley team will test just about anything(including burning tampons in the classroom stove!)to run him off. Instead of exploding like the children wish, Thackery takes a various tack; treating them like adults and talking about things they have questions about. The ploy works, and along the method Thackery learns to deal with indifferent fellow teachers, racism, lovestruck female students, and a difficult decision that will determine his future . . . A nice inspirational movie, TO SIR, WITH LOVE also boasts British songstress Lulu in her first movie role, as well as prominent soundtrack artist(The Mindbenders are the others). The process by which Thackery molds these wild, rebellious teens into mature and thoughtful adults--and the teens' resulting respect for Thackery, quite possibly the first respect they've ever felt for an adult--is touching. Definitely a classic movie worth seeing.



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