1967’s To Sir, With Love is a bit formulaic.  Following in the footsteps of Goodbye, Mr. Chips; The Corn Is Green; and Blackboard Jungle, it tells the tale of a teacher who seeks to educate “problem” students and show them a brighter future.

There are several reasons this movie succeeds.  One is Sidney Poitier. He is polished and understated exuding a genuine humanity without being beatifically noble.  The obvious wrinkle this movie presents to the formula is that the teacher is black, while the students are not mainly white.  While that is an added layer to the challenges “Sir” faces in teaching the students, neither the screenplay nor Poitier’s performance seek to make this a message movie.

The students also keep this movie from slipping into cliche.  They are a motley crew.  Filmed in the East End of London in 1966, these actors embody the time and era. These are not pristine, scrubbed faces – they are ruddy, with stringy hair. While they may be a bit older than their characters, it works in this movie.  These characters face hard lives and have had to grow up too quickly.  But, as Poitier’s character uncovers – they really are like schoolchildren who just want someone to care about them.

Several veteran mid-level British actors fill out the other adult roles.  Patricia Routledge makes her movie debut as one of Poitier’s colleagues.  For those who have only seen her as Hyacinth Bucket, her performance is a revelation here.

The cinematography, direction and music also aid the movie.  It has a dark, grimy look, more akin to a documentary. Director James Clavell working with cinematographer Paul Beeson and editor Peter Thornton, makes use of the realistic look while throwing in occasional quick cuts and varied angles. The iconic trip to the British Museum is accomplished by using only still photos over the score.  This was borne out of necessity because the museum would only allow still photos not filming.  But it is more powerful, and the photos are stunning.

The film was largely overlooked at awards time.  It was released the same year as Poitier’s In the Heat of the Night and Guess Who’s Coming to Dinner.  He received no nomination that year at the Oscars — his three films probably all cancelled each other out.

The title song, which was sung by Lulu in the movie, was nominated for a Grammy.  Written by Mark London and Don Black, it has been covered by everyone from Al Green to Soul Asylum to 10,000 Maniacs with Michael Stipe.  Lulu’s version spent five weeks at Number 1 on the Billboard chart.