Perfect cast and a good story

This story has more twists and turns than a second-rate soap opera.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

By the time the dramatic fireworks start popping off, each one feels earned.

Heavy handed allegory gets a tick for its ambition and casting, but the momentum and pace is severely soporific with long passages of seemingly endless staring and close-ups of eyeballs where words should be present. Poitier returns to his home town to attend the funeral of his sister, but following a series of evangelical interventions in the town's struggling labour relations, many come to believe that he may be the second coming. Predictably, there are those in the redneck town who want to lynch him for impersonating Christ (potentially an opportunistic charlatan), while others hope he can reverse the disturbing trends and save lives.Local doctor played by Will Geer initially greets Poitier with scepticism but opens his mind to the possibilities; his son played by Bradford Dillman, on the other hand is cynical of Poitier's intentions which local sheriff Ramon Bieri believes are to agitate the local black community into industrial disputation for better treatment and wages. Lincoln Kilpatrick, Richard Ward and Paul Winfield play local oppressed workers who come to trust Poitier and his unconventional wisdom.Grainy colour tones and heavy doses of symbolism create an eerie atmosphere, but I felt the film never quite hit the mark, languishing somewhere between fantasy and melodrama. But then perhaps the low key treatment is what makes it a memorable and original little title (and one that appears now long forgotten). Low key but worth a look.

In a Southern town, kindly old Doc Thomas is giving an elderly woman what appears at first to be a routine examination. But then he must tell her, in his caring way, that she is too far gone and while they can try, she needs to prepare for the worst.The woman's brother John cannot be found. And yet somehow he has always managed to show up when someone he cared about died. This time is no exception; while the family wonders how to contact him, John is already in his sister's hospital room.After the funeral, John stays around for a while, which is unusual for him. He entertains a group of school kids by telling about his adventures in Africa and showing them the culture of the people he met. The kids' teacher seems to be an old girlfriend, and the possibility exists of the romance rekindling.Doc Thomas should probably give up his practice, and the townspeople know this. He may not be senile yet, but he is showing a decline.Meanwhile, the union at an area factory appears ready to strike. The black workers aren't treated well, and some of the cops in town are racist. There may be trouble. Will John's presence help or hurt the situation?Sidney Poitier gives his usual masterful performance. And Will Geer does an outstanding job overall, even holding his own with the great Poitier in a powerful scene near the end.We never really learn what John does or why he seems to have supernatural abilities. All we know is that he is very intelligent and has lived many places and done many things.There are plenty of other good performances and good writing.It's worth seeing.

Odd Ernest Kinoy screenplay involving a mysteriously reticent black man of very few words returning to his Southern hometown for the funeral of his sister, dating a pretty schoolteacher but also getting involved in heated racial confrontations between the black residents and the redneck law. Peculiar, offbeat to say the least, yet hardly engrossing or emotional aside from the two big confrontations (one racially-charged, the other over a woman). Will Geer gives an irritatingly obtuse, owl-like performance as the doctor who originally delivered "Brother John", and who now senses something magical about him. In the lead, Sidney Poitier holds the screen with resplendence; he still has all the charisma and inner-fire of his popular 1960s roles, and allows us to see it (or perceive it) at perfectly-timed intervals. However, this cloudy mood piece--with timely undercurrents of oppression--isn't an exciting or gripping picture. Some have lauded the film for its dreamy ambiance, others will feel this approach ultimately works against the characters. A mixed-bag, though one with a beautiful score by Quincy Jones and expressive Gerald Perry Finnerman cinematography. ** from ****

I too agree with DuzeByte and have setup a discussion group right here at IMDb. Look for it.Sydney portrays a fascinating creature of Kinoy's mind. The dialog he wrote for Sydney and Will in the jail-house scene was engaging as well as enigmatically intriguing. American stereotypes in 1971 would have us believe that a black man can not play an angel nor an alien. Denzel's portrayal of an angel in The Preacher's Wife was equally as engaging as this movie was simply by the stereotype-bashing of the screenwriters.Brother John was a little too "dark" in his approach to be a obedient modern-day Ben Elohim (angel) on a mission. Too materially substantial ('human form') to be a disobedient version too. IMHO a visiting advance scout 'alien' actually only exists in the human mind of a Hollywood sci-fi screenwriter. Therefore Brother John fits that bill quite well. However, I can't understand how an alien would know when his folks were dying nor why he would have any dealings with them after realizing his Earth mission. I also don't know why his passport would be so revealing since BJ was so stealthy and so well trained in the espionage trade-craft of a 007 type shadow-warrior of the 70's - karaté chops and all.I found this movie to be so well thought out despite the predictable love scenes. I would think that Kinoy was trying to deliver a profound message to Americans as he is to the entire world in his new 2005 film about the Papalcy (Pope and Catholic church) called "Magnificat".Spooky