HAVE FUN and GEMUTLICHKEIT atBEER • WINES • COCKTAILSLIVE ENTERTAINMENTOpen Daily 4 pm to 1 am 218 Western Park Dr.SCOTTSDALE• (Off Inaton School Rd, lust across from- fhe Valtey Ho)Irony worth considering. The Pracial struggle now going on in = this country has no doubt given Negro actors and actresses their best opportunity at breaking, into films. Ability which might otherwise have been overlooked is getting heard and seen, simply because there is a current-events market for it. , But the same race-mindedness• Ithat opened the doors is threatening to ruin the talent by forcing it, over and over, to play the same games in sociology, = rather than to play parts in the T movies—S.A. IRender unto color what is colorful, and render unto black and white what is black-and-white.No puns intended, but this was my first critical response to “In the Heat of the Night,” a race-relations opus starring SidneyPoitier and Rod Steiger.►The film, which opens today at the Chris-Town, is the current product by Sidney Lumet, who is smart enough to reco-ganize in Steiger one of the few really great actors in American movies but not smart enough, apparently, to realize that pastel pictures should be reserved forpastel subjects.LUMET directed “The Pawnbroker” two yoars ago, where-»in he gave Steiger free rein toportray a Jew haunted bymemories of the war, and Steiger responded by carving Lumet an excellent character. “The Pawnbroker” was done in black and white. “In the Heat of the Night” should have been done in black and white too.MIt’s a tense and sultry film, set in a Southern town spooked by the old bigotry, and featuring Steiger as a homey police chief who has to get used to working with a Negro police officer. The story centers around his tensions with Poitier while they keep close company on a homicide case, and the atmosphere is humid and hate-ridden. The gray, ominous moods of gra; ominous photography would best have served the purposes of this film, but Lumet chose to do it in splashy color.1 NITES