User reviews

This movie is about many things – teen angst, race relations, and poverty. But what it's *really* about is teased hair, heavy eyeliner and miniskirts. And the title song, of course. Who could ever forget the gushing sentimentality of Lulu warbling about crayons and perfume? It is a charmer of a movie with life breathed into it by a fresh cast of young Brits. Released at a time when the world was captivated by all things British, it was relatively daring at the time it was made. A low-budget film that raked it in at the box office, Poitier, as in *Lilies of the Field*, wisely accepted a low salary in exchange for a share of the profits. But the biggest profit of all is his portrayal of the East End school teacher, Mark Thackery, who quickly learns that his students need a different kind 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 account for his diminished fee. Writer-director Clavell also received the same arrangement, a writer who was chosen 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 issues between America and England. Filmed in London, the picture featured a number of minorities, many of whom, he observed, would be unable to find work outside of the confines of the movie. However, for his time spent with the cast, he was delighted with their company. Sidney played Mark Thackeray, one of his most famous 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 poor relation of Poitier's three 1967 works. This is an unfair assessment of a movie 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 vehicles that year that did not rely upon his colour for its subtext. Instead, a few bigoted remarks were inserted, largely from a fellow teacher (Geoffrey Bayldon as Mr. Weston) than the pupils. Compared to his other 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 other '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 situations over an entire term period. Over the course of the lengthy film 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?

Sidney Poitier is absolutely superb in this film about a novice teacher who prepares a class of uncouth youths for adulthood. There are too many wonderful scenes to catalogue in this commentary but among the highlights are: his reaction to the naughty chatter of the ladies on the bus, his coping with the young lady who has a crush on him, and his complicated relationship with the stiffnecked rebel of the class. There are so many positive messages imparted in this film and they come across without being heavy-handed. Highly recommended, 9/10.

The school movie against which all other school movies 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 great 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 cut out for him, as his motley crew will try just about anything(including burning tampons in the classroom stove!)to run him off. Instead of exploding like the kids wish, Thackery takes a different tack; treating them like adults and talking about things they have questions about. The ploy works, and along the way Thackery learns to deal with indifferent fellow teachers, racism, lovestruck female students, and a hard decision that will determine his future . . . A great inspirational movie, TO SIR, WITH LOVE also boasts British songstress Lulu in her first film 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 film worth seeing.

I am different than many of the reviewers in that I taught high school...though the kids weren't quite like those in "To Sir, With Love". And, while the miraculous change in the kids through the course of the film is hard to believe, there is a certain decency and sweetness about the movie that I could not resist.

The story is about Mr. Thackery (Sidney Poitier) and his seemingly impossible job. While he's a trained engineer, he cannot find work....so he decides to become a teacher...at least until something better comes along. The problem is that he's working with a lot of rough teens--teens who see no future for themselves and who have pretty much given up on amounting to anything. At first, the kids are uncivil...little jerks just biding their time until graduation. However, through the course of the term, his students learn to respect others and themselves...and prove that they might have bright futures.

As I mentioned above, the change in the students is a bit hard to believe if you think about it. But it's still an excellent film....inspiring even. Well worth seeing and filled with some terrific acting, writing and music. And yes, that IS Lulu not only singing the title song but acting as one of Mr. Thackery's students.

The first time I had watched TSWL, I was probably about 14, but not from the era the film is from. None the less, I found it fascinating, poignant, funny at times, and warm.

The funny thing is that while the clothes, music and styles may change, the feelings we have are common and do not change much over the years. Kids rebel, test and resist authority, and push the rules. We've all done it in some way or another. I smoked cigs, drank beer and had long hair. Others hung-out with the wrong crowd, drank beer or skipped class.

TSWL as is "The Blackboard Jungle" are dated today, but so are "Class of 1984" and "Stand and Deliver", but they all share the same premise, emotions and struggles. If a movie can convey them honestly, as does "To Sir, with Love", then it deserves recognition. I always like to watch TSWL, it does make you feel good in the long run. Even after all your disobedience at school, most of us grew up and realized the importance of what we had learned and were now sad to leave the memories, friends and teachers.

I think we also realize that we are also leaving a young version of us behind and it's sad to let that childlike version go. It's time to start growing up.

Sidney Poitier's exceptional lead performance anchors this touching film about that special person who changes your life. As the first time teacher to a group of undisciplined British youth, Poitier is in virtually every frame of this picture. It is a role that calls for a high degree of character development, and Poitier meets and expands the challenge by totally inhabiting the character he is playing. I honestly cannot think of any way his performance could be better, and this is a huge compliment for any actor - even one of Mr. Poitier's immense talents.

While not in the same league, the young cast of then-unknowns also perform quite well. Particularly effective of the young cast members is fresh-faced Judy Geeson, who brings unexpected depth to the stereotypical role of the young schoolgirl love-struck over Mr. Poitier (who could blame her). Director/writer/producer James Clavell avoids over-sentimentalization by inject his well-written script with a healthy dose of realism. The film may not be particularly striking, in the visual sense, but Clavell is a perfectly competent film maker, and his love of the material is evident throughout the entire picture.

A new teacher arrives at a tough inner city school populated by teenage hooligans . Hardly a new concept for a movie is it ? , but TO SIR WITH LOVE is slightly different from the same type of film made in the 1980s and 90s , it`s set in swinging sixties London when Britannia really was cool , and the kids are " Cor blimey guvner " cockney kids who are not really bad , they`re just misunderstood and if you treat them as adults they`ll behave like adults . This is a totally naive , predictable film with an extremely progressive streak but that`s what I enjoyed about it as Mark Thackeray shows the kids what being an adult is all about . There`s not a cynical bone in this movie`s body , and it`s good to remember a time when a " really tough " school meant pupils talking in class and slamming doors

Novice teacher, Mark Thackeray, arrives at a secondary school in a depressed area of London's East End and transforms a class of jeuvenile delinquents into a group of responsible, mature and caring young people, confounding his critics amongst the jaundiced teaching staff.

From the very beginning, members of the class try to bait him into losing his temper so that he'll quit. Their previous teacher committed suicide, we are told. Gradually, he gains their trust and helps them overcome their personal struggles, thus winning their respect and friendship.

Its a slice of sixties social idealism that may appear dated and oversentimental to some, but it loses none of its sincerity or good intentions. The book by E.R. Braithwaite was based on his own real life experiences in the 1950's. Once again, James Clavell displays his winning touch with the screenplay and direction. The role of Thackeray had strong appeal to Sidney Poitiers for its portrayal of African-American characters as responsible role-models, a theme common to many of his films. There is a notable screen debut for Judy Geeson who went onto become one of the most fashionable jeuvenile actresses of the late 1960's. With a schoolgirl crush, she competes with beautiful teacher Suzy Kendall for the attentions of Thackeray.

The films sound-track provides good material for another debutante, Lulu, who sings the main title. It went onto become the top-selling record in the U.S. for 1967, but inexplicably, was never released in the U.K. as a single. The lyrics are provided by the highly talented Don Black who had also written the themes to 'Born Free' and 'The Italian Job' as well as collaborating with John Barry on three of the James Bond Films of that period. The backing group are The Mindbenders who provide the school band sound. They had a U.K. No.2 in the charts at the time with 'A Groovy Kind of Love' and in collaboration with Wayne Fontana, a U.S. No.1 with 'Game of Love' the previous year.

The recently released DVD provides a good quality print of this thoroughly enjoyable film and is well worth viewing. I give it ten out of ten.

There are so any things which date this film, you could lose count. Its outlook towards the generation gap, racism, sexism, music and more really do seem preserved in mid-60's aspic and while it has some vintage charm, it has many more embarrassing aspects of almost look-away gaucheness.

In its favour are the exterior London locations, I suppose the feel-good nature of the plot and a mostly watchable star performance by Sidney Poitier as the "Sir" of the title. Supposedly the new teacher at a school for difficult near-adult pupils you too will be amazed at how he tames his class of young hooligans just by throwing away their text books and talking about life.

Elsewhere clichés abound, from Poitier's encounters with the class rebel, who he eventually teaches a lesson in the boxing ring and the class beauty who eventually forms a crush on him, to the unconventional way he gives out lessons. Occasionally the film tries to grow up with some adult-banter on the bus at Poitier's expense or the strange ritual burning of a sanitary towel in class, but with its largely teenage cast and references to contemporary pop-culture, it seems definitely aimed at the younger movie-goer.

Poitier is good right up until he does his silly one-on-one dance with the adoring Julie Christie lookalike Sally Geeson and you feel more could have been made of his relationship with Suzy Kendall as his white, female colleague who offers him support. The young cast of class pupils occasionally turn to wood but a very young Lulu does quite well in concealing her broad Scottish accent and singing the hit title tune.

The direction tries to be hip too, never more so than with the photo-montage of the class trip to a museum, but the editing isn't always clear and you suspect many of the scenes are watered down for the benefit of the censor.

Still it was nice to jump into my 60's time-machine and watch a reasonably entertaining film from that era

I have seen this movies at least 50 times since 1967 I know. It's just one of those movies that you see that you never forget. I have always had great admiration for teachers because I think they have the hardest job in the world. Sidney Poitier is such a great actor that he makes you want to cheer his characters and you believe he is who he is portraying. I still love the theme song and I think it defines the whole movie and makes you want to see it again and again. "How do you thank someone, who has taken you from crayons to perfume." Great flick... And of course the dance scene at the end. I still can't do those moves...

As one of the movies (along with "In the Heat of the Night" and "Guess Who's Coming to Dinner") that made 1967 Sidney Poitier's annus mirabilis, "To Sir, with Love" shows a man forced to take charge in a less-than-pleasant situation. Poitier plays Mark Thackeray, a Guyanese engineer hired to teach in a high school in a rough London neighborhood. The students not only have little interest in school, but are not quite ready to be taught by a black man. Mark is forced to show the students that he will not tolerate insubordination.

Poitier did great in this role, with good support from the rest of the cast (including Lulu, who sang the theme song). It affirms his status as one of the greatest actors in movie history. And also, I hope that nobody tries to compare this with "Dangerous Minds"; the latter was in my opinion an insult. "To Sir, with Love" was a masterpiece.

I loved this film from start to finish. From the very first scenes of Mark Thackeray (Sidney Poitier) catching the LLU 829 bus, which passes through London on his first day as a teacher in a mostly white, working class school in the East End, to its very last scene, which I won't describe, it captured my interest unlike many other movies that I have seen lately. For me, this was one of Poitier's best films, and I am disappointed that he has never been appropriately acknowledged for his outstanding performance in it. Many of his more popular roles did not bring out the full range of his acting ability as this one did. A lively and thoughtful script by director James Clavell certainly helped Poitier in this achievement.

I first viewed this film when it was released in 1967, fifty long years ago and the year that I graduated from high school, an institution that was only a notch above the environment of North Quay. For me, this motion picture has actually improved in time, perhaps because I finally understand the words of the East Enders.

The use of the theme song "To Sir With Love" with all of its variations to match the mood of the moment was very successful. The montage sequence of still shots at the museum was also very effective, especially when one considers that the museum management refused to allow the crew from rolling their cameras inside. Talk about turning lemons into lemonade.

Two major instances of irony left a strong impact on me. The first was that of a highly educated black man teaching a predominantly white, underprivileged group of working class students in the inner city. The second was the sight of Sidney Poitier, who played one of those underprivileged students in a New York City high school twelve years earlier during "Blackboard Jungle", standing in front of a similar class as the teacher. In both movies, the teachers were faced with the same, difficult choice of leaving their troubled schools for careers elsewhere.

Although the subject of race arose with great restraint on several occasions during the movie, it did not bluntly expose itself until the moment when the mostly white students were asked to deliver flowers to the home of a bereaved non-white classmate. This was a moment of truth that was handled very well with a very moving and gratifying result.

Although several other reviewers don't agree with me, this is a film which has withstood the test of time. Thanks to the outstanding performance of "Sir" Sidney Poitier, an excellent script, a very capable, British supporting cast, and overall direction by James Clavell that kept me involved in the action from start to finish, this is a very appealing movie that must be seen.

The author who's autobiography this is based hated this film thinking it horribly sentimental. It is a little sentimental but not of course anything like as sentimental as Goodbye Mr Chips - what comes across is realism, a colour snapshot of the East End in 1967. It's hardly the summer of love of the swinging sixties but that only existed for a handful of people. This is how England was for most people. It might not look as mean and nasty and "realistic" as some people might expect compared with these days but it seems pretty realistic and authentic to me.

Something refreshing about this film is it's treatment of racism - or rather it not really bothering about it. It would have been easy to focus on that issue but that is not what this film (unlike the book) is about. It's a film about a teacher who can make a difference. It doesn't matter what colour he is, what's initially important is that he's ostensibly from a more privileged class than his pupils. In one scene for example he's accused of being posh. It's the kids who think that they're the ones being prejudiced against.

The acting is great and the direction is fresh allowing the characters to develop as their protective layers are peeled away. Perhaps the speed of these miraculous transformations is a little unbelievable but that can be forgiven with just a 90 minute run time.

Overall, it's a positive and uplifting film ....plus it's also got one of the greatest pop songs of the day in it.

Mark Thackeray (Sidney Poitier) is a black unemployed engineer, born in the English Guyanna and with a simple and humble origin, who accepts to work as a teacher in an English school. Very poor and undisciplined teenagers compose his class and he has lots of difficulties to approach them. In the end, their students consider Mark as their best friend and dedicate him one of the most wonderful songs in the cinema history. Mark finds that his real vocation is being a teacher and gives up the new job as engineer he has just gotten.

The first time I watched "To Sir with Love", I was twelve years old, and I went at least three times to the movie theater to see this movie again and again. On video, I probably have watched it at least fifteen times more and I do not get tired of this marvelous story. This wonderful movie is in my top ten films list ever. It is sentimental, touching, maybe silly in the present days, but it is also a reference for other movies about the relationship between teacher and rebel students. Michelle Pfeiffer's 'Dangerous Minds', for example, is an updated copy of this story. The direction and cast have an outstanding performance. My vote is ten.

Title (Brazil): "Ao Mestre com Carinho" ("To the Master, with Endearment")

Note: On 14 August 2012, I saw this film again.

Note: On 16 October 2020, I saw this film again.

The list of feature films that show the challenges faced by teachers and students seems to be endless, but they always address controversial issues in different ways. Some endings are happy, others are not, because after all, reality is often harsh. What matters is that people see that with persistence, discipline and respect, it is possible that school problems can be overcome within Education. Within this list of school plots are "Dead Poets Society", "Freedom Writers", "The Class", "Dangerous Minds", "Leon on Me", "Take the Lead", among others. But one, in particular, opened the fan for the following productions: "To Sir with Love".

Written and directed by James Clavell (best known for writing Shogun), inspired by a 1959 book of the same title, by author Edward Ricardo Braithwaite who recounts his own experience as a teacher. The film is an adaptation that tells the story of Mark Thackeray (Sidney Poitier), a black engineer from Guyana who finds it difficult to get a job in his area and accepts an opportunity at a secondary school in a low-income neighborhood in London. As soon as he arrives at school the other teachers wish him good luck with the class and he doesn't understand why he needs luck so much. The principal warns him that some students are difficult, but that deep down they are good people and act rebellious because of the situations they live in their homes.

Born in the Bahamas, actor Sidney Poitier was sent at the age of 15 (average age of the students in the film...) to live with his brother in the United States, due to the constant problems he was involved in in his homeland. He knew, in his personal life, poverty, lack of a good education, and unemployment. All this seems to have made possible the construction of an unforgettable role in the history of cinema, that of Professor Tackeray. Clothed with an aura of honor and dignity, empathy for the students and deep dedication to teaching, Tackeray became and would remain, for movie viewers, a kind of archetype of the ideal teacher, which everyone would like to have - and who would only come to threatened more than 20 years later by Robin Williams' John Keating.

A remarkable product of its time, the film was banned in South Africa because it was considered "offensive for a black teacher to teach a class of white children". Even if it were not so well executed, this fact alone, combined with the courage to present a black protagonist at the height of the conflicts in the USA for black civil rights (the "long summer" of 1967) would already give the film a definitive place in the history of the film. Movie theater.

The strongly dialectical structure of the feature film, which always opts for a strong marker to highlight this clash between student and teacher, which, in the end, translates into the general interpretation of the film as a kind of "good versus evil" as an element that moves the action of the film fable. Social malpractice is transformed through a very powerful and socially engaged pedagogical act, converting what was bad into something good. The tone is always humanistic and part of the most basic premise of universal education: it is possible for everyone to learn everything.

It is very singular that the figure of undisciplined students does not indicate an individuality, that is, we are not talking about a specific student - the difficult Pamela Dare (Judy Geeson) or the problematic Bert Denham (Christian Roberts) -, we are dealing with the portrait of a collective. I mean, the character is collective and represents, through a microsystem (the undisciplined classroom), a macrosystem (society as a whole). The classroom serves as a laboratory for a successful social experiment, which transforms the collective subject as a whole, making it sociable, and thus the film beckons to a consistent optimism in its reading of human relationships. And of course, all this positive status change has in the hands of a teacher the most essential key.

Still, the film operates as if it were constantly pushing its initial acts towards the conclusion, which would be the moment when these undisciplined students would then gain some discipline and start to see Professor Mark, already deeply disrespected at a certain point in the film, as an expensive example of a human being, of a social subject. From the beginning, the direction points to this place and makes the actions that precede it abrupt and sometimes harsh so that, when changing the status of the plot, we delight in the change generated in the heart not only of the students, but of the film itself, which acquires a different tone from the first part, always bringing, in each shot from now on, an aspect of commotion and rhetorical emotion, so that the bond forged between the Master and the students becomes something close to a very sentimental affection, introducing in each line of the script ideas of respect, humanity, decorum, equality and compassion.

The fact is that, a priori, the twist is not what matters, but the way it is conducted in the mise-en-scène, that is, the way, the strategies, the dialogues and the behaviors that led to this adventure and the film demonstrates this. Step by step, with a firm script, which leaves no point untied. In all acts, even after guaranteed respect and above all after the change of fortune (central motif of the film), the master continues to teach through gestures, decisions and postures in the face of situations that arise.

The film does not only address issues of the school environment, it shows how social aspects interfere in the reality of a teenager. Among the students are people who don't have a family base, who have divorced parents, who take care of their siblings or the house when they get home, who consider themselves the scum of society and think they have no future. Although we have a black person as a teacher in a mostly white class, racism is rarely addressed. With the exception of the moment when a mixed-race student loses his mother and his classmates save money to buy a wreath, but cannot go to his house because they will be frowned upon by society at that time.

Despite having premiered in 1967, its approach remains very current, dealing with recurring themes also from the 21st century. Films that talk about the school environment are always moving, not only because the situations experienced by students and teachers are difficult, but also because they are stories of overcoming, showing that with education it is possible, yes, to change the reality of a child or adolescent who it was "destined" to be a "nothing" for society. Despite its concept being current, this is a work that, despite still being iconic, deserves an adaptation for today, keeping the main ideas, but updating many situations and dialogues, including the opportunity to better explore the lives of students and the teacher outside the classroom, even creating new characters with new dramas. If a new adaptation falls into skilled hands, this new version could easily become a new classic for the human and universal potential of the story.

On a cold note, the aesthetic hasn't aged so well and that low-budget movie impression is notorious. Some choices in the editing harm the emotional immersion, there are segments that are drawn out, but two points remain strong: Sidney Poitier's impeccable performance, full of dignity, intelligently internalizing his feelings, and, of course, that unforgettable ending, in which the students gather to surprise the master with a beautiful song, sung by Lulu, who oozes charisma. It is a sensitive example of how cinema can be a truly transformative tool.

We are facing the results of an excellent seeding - allegorical seeding that represents much more than the classroom, but indicates the possibility of transforming the human race through pedagogical means. Or rather, it demonstrates the possibility of social change, working from smaller categories to express verisimilitude in fiction and leaving everything with an aspect of "possible", of "true".

Sidney Poitier (as Mark Thackeray) wants to be an engineer, but finds jobs scarce; so, he takes a job teaching a group of unmanageable East End London secondary (high) school students. The inexperienced Mr. Poitier has no control in the classroom. With only a few weeks before graduation, he decides to teach discipline and respect. Poitier's biggest classroom problem is rebellious youth Christian Roberts (as Denham). He also has to deal with pretty blonde Judy Geeson (as Pamela), who develops a "schoolgirl crush" on her handsome black teacher.

Poitier doesn't seem to be doing much academic teaching; but, with only a few weeks to go, he makes some instinctive, wise decisions. As the students' "newest replacement", he must start with extensive classroom management. Mostly, the students like to dance and smoke cigarettes. But, through the young cast's performances, and their scripted background, you believe they are worse than they appear on film. The film is a simplistic representation.

Poitier's dignified characterization is superb. As "Mr. Thackeray", he handles societal racism with quiet reservation. Thackeray does not verbalize any racial "blame" for his 18-month failure to find an engineering job. He grins sweetly when the ladies on the bus hint about his sexual prowess. He does not respond to the cynical teacher's bait. And, he responds with non-sensual sincerity to the film's interested blondes. More than anything, Thackeray values courtesy, which is evidenced by his first "tantrum".

Thatcher is a man of polite manners, who values respect. He demands the students call him "Sir". Poitier's command for respect works not only with the students, but also with the audience. Poitier cuts through the film, and demands the same respect from the audience.

You call him SIR!

So, the "lesson" achieves the unexpected - both Thackeray and Poitier are successful with their audience. The audience responded by making Poitier a "Box Office" superstar. It was the right message, the right time, and the right man.

Director James Clavell and the Lulu-sung title song are also outstanding. Most movie award organizations favored Poitier's two successive 1967 films. But, "To Sir, with Love" did very well with the "Film Daily" critics: "To Sir, with Love" was the year's #4 Film, and #1 song. Poitier was the #3 "Best Actor" (one better than his "In the Heat of the Night" role), Christian Roberts was "Juvenile Actor" #2, and Judy Geeson won as #1 "Juvenile Actress".

********* To Sir, with Love (6/14/67) James Clavell ~ Sidney Poitier, Christian Roberts, Judy Geeson, Lulu

Sidney Poitier is at the top of his game playing Mark Thackeray who is looking for an engineering job, but takes a position teaching a rough London school where the students have no respect or discipline. Excellent story and meaningful in tune with the times. Also in the cast are:Christian Roberts, Judy Geeson, Suzy Kendall, Geoffrey Bayldon and Lulu, who sang the movie's title song that became an international hit. In 1967, "To Sir, With Love" by Lulu was the number one song in America for five straight weeks.

Rent this movie. Don't read any reviews of it, just go out and rent it.

It's one of the best movies of the last forty years, and Sidney Poitier is just beautiful in it. The movie glows, has a soul even, and actually dares to say something of value. I wish they made more movies like this today! Just a gorgeous movie going experience........

Mark Thackeray (Sidney Poitier) is an unemployed engineer from British Guiana originally and a few years in California. Unable to get an engineering job, he reluctantly takes a teaching job at the North Quay Secondary School in the lower class East End neighborhood of London. His class is compose of some of the worst rejects from other schools.

The cockney accent is quite thick but the movie is mostly understandable. Poitier is doing his stoic acting with some flashes of power. The kids are generally nice looking trying to act tough. None of them has any real edge especially compared to modern movies. It may actually be the idea that these are good kids trying to be bad. It plays more like a less intense sentimental movie. The song is great though. I don't want to say the movie is too soft. Just by having Poitier, the race issue is being dealt with. The main thing is that Poitier is never truly outmatched by the kids. He projects so much presence that the kids don't have anything equal to him.