Sidney Poitier

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Actor Sidney Poitier's (born 1927) presence in film during the 1950s and 1960s opened up the possibility for bigger and better roles for black performers.

At a 1992 banquet sponsored by the august American Film Institute (AFI), a bevy of actors, filmmakers, and others gathered to pay tribute to Sidney Poitier. Superstar Denzel Washington called the veteran actor and director "a source of pride for many African Americans, " the Los Angeles Times reported, while acting luminary James Earl Jones ventured that his colleague had "played a great role in the life of our country." Poitier himself was typically humble in the face of such praise, but he has acknowledged that his presence on film screens in the 1950s and 1960s did much to open up larger and more nuanced roles for black performers. "I was selected almost by history itself, " he averred to Susan Ellicott of the London Times.

After gracing dozens of films with his dignified, passionately intelligent presence, Poitier began to focus increasingly on directing; a constant in his life, however, has been his work on behalf of charitable causes. And he has continued to voice the need for film projects that, as he expressed it to Los Angeles Times writer Charles Champlin, "have a commonality with the universal human condition."

Born in 1924 in Miami, Florida, but raised in the Bahamas, Poitier experienced severe poverty as a boy. His father, a tomato farmer, "was the poorest man in the village, " the actor recalled in an interview with Frank Spotnitz for American Film. "My father was never a man of self-pity, " he continued, adding that the elder Poitier "had a wonderful sense of himself. Every time I took a part, from the first part, from the first day, I always said to myself, 'This must reflect well on his name."' The family moved from the tiny village of Cat Island to Nassau, the Bahamian capital, when Poitier was 11 years old, and it was there that he first experienced the magic of cinema.

After watching rapt as a western drama transpired on the screen, Poitier recollected gleefully to Chris Dafoe of the Los Angeles Times, he ran to the back of the theater to watch the cowboys and their horses come out. After watching the feature a second time, he again went out to wait for the figures from the screen to emerge. "And when I told my friends what had happened, they laughed and they laughed and they said to me, 'Everything you saw was on film.' And they explained to me what film was. And I said, 'Go on."'

Thrown Out of First Audition

Poitier made his way to New York at age 16, serving for a short time in the Army. He has often told the story of his earliest foray into acting, elaborating on different strands of the tale from one recitation to the next. He was a teenager, working as a dishwasher in a New York restaurant. "I didn't study in high school, " he told American Film's Spotnitz. "I never got that far. I had no intentions of becoming an actor." Seeing an ad for actors in the Amsterdam News, a Harlem-based newspaper, he went to an audition at the American Negro Theater. "I walked in and there was a man there - big strapping guy. He gave me a script."

The man was Frederick O'Neal, a cofounder of the theater; impatient with young Poitier's Caribbean accent and shaky reading skills, O'Neal lost his temper: "He came up on the stage, furious, and grabbed me by the scruff of my pants and my collar and marched me toward the door, " the actor remembered to Los Angeles Times writer Champlin. "Just before he threw me out he said, 'Stop wasting people's time! Why don't you get yourself a job as a dishwasher."' Stunned that O'Neal could perceive his lowly status, Poitier knew he had to prove his antagonist wrong. "I have, and had, a terrible fierce pride, " Poitier told the audience at the American Film Institute fête, as reported by Daily Variety. "I determined right then I was going to be an actor."

Poitier continued in his dishwashing job; in his spare time he listened assiduously to radio broadcasts, he noted to Champlin, "trying to lighten the broad A that characterizes West Indian speech patterns." He had some help in one aspect of his informal education, however: Daily Variety quoted his speech at the AFI banquet, in which he thanked "an elderly Jewish waiter in New York who took the time to teach a young black dishwasher how to read, persisting over many months." Ultimately, Poitier returned to the American Negro Theater, persuading its directors to hire him as a janitor in exchange for acting lessons.

Poitier understudied for actor-singer Harry Belafonte in a play called Days of Our Youth, and an appearance one night led to a small role in a production of the Greek comedy Lysistrata. Poitier, uncontrollably nervous on the latter play's opening night, delivered the wrong lines and ran off the stage; yet his brief appearance so delighted critics, most of whom otherwise hated the production, that he ended up getting more work. "I set out after that to dimensionalize my understanding of my craft, " he told Champlin.

Poitier made his film debut in the 1950 feature No Way Out, portraying a doctor tormented by the racist brother of a man whose life he could not save. Director Joseph Mankiewicz had identified Poitier's potential, and the film bore out the filmmaker's instincts. Poitier worked steadily throughout the 1950s, notably in the South African tale Cry, the Beloved Country, the classroom drama The Blackboard Jungle, and the taut The Defiant Ones, in which Poitier and Tony Curtis played prison escapees manacled together; their mutual struggle helps them look past racism and learn to respect each other. Poitier also appeared in the film version of George Gershwin's modern opera Porgy and Bess.

First Black Actor to Win Academy Award

It was in the 1960s, however - with the civil rights movement spearheaded by Dr. Martin Luther King, Jr., and others gathering momentum - that Poitier began to make his biggest mark on American popular culture. After appearing in the film adaptation of Lorraine Hansberry's play A Raisin in the Sun, in a role he'd developed on the stage, he took the part of an American serviceman in Germany in the 1963 production Lilies of the Field. This role earned him a best actor statuette at the Academy Awards, making him the first black actor to earn this honor.

"Most of my career unfolded in the 1960s, which was one of the periods in American history with certain attitudes toward minorities that stayed in vogue, " Poitier reflected to Ellicott of the London Times. "I didn't understand the elements swirling around. I was a young actor with some talent, an enormous curiosity, a certain kind of appeal. You wrap all that together and you have a potent mix."

The mix was more potent than might have been anticipated, in fact; by 1967 Poitier was helping to break down filmic barriers that hitherto had seemed impenetrable. In To Sir, With Love Poitier played a charismatic schoolteacher, while In the Heat of the Night saw him portray Virgil Tibbs, a black detective from the North who helps solve a murder in a sleepy southern town and wins the grudging respect of the racist police chief there. Responding to the derisive labels flung at him, Poitier's character glowers, "They call me Mister Tibbs." The film's volatile mixture of suspense and racial politics eventually spawned two sequels starring Poitier and a television series (Poitier did not appear in the small screen version).

Even more stunning, Poitier wooed a white woman in the comedy Guess Who's Coming to Dinner; his fiancée's parents were played by screen legends Spencer Tracy and Katherine Hepburn. The film was considered a watershed because it was Hollywood's first interracial love story that did not end tragically. Poitier's compelling presence - articulate, compassionate, soft-spoken, yet demanding respect from even the most hostile - helped make this possible. Reflecting on the anti-racist agenda of filmmakers during this period, Poitier remarked to Ellicott, "I suited their need. I was clearly intelligent. I was a pretty good actor. I believed in brotherhood, in a free society. I hated racism, segregation. And I was a symbol against those things."

Key Activist for Civil Rights

Of course, Poitier was more than a symbol. At the AFI banquet, reported David J. Fox in the Los Angeles Times, James Earl Jones praised his friend's work on behalf of the civil right struggle, declaring, "He marched on Montgomery [Alabama] and Memphis [Tennessee] with Dr. Martin Luther King, Jr., who said of Sidney: 'He's a man who never lost his concern for the least of God's children."' Indeed, Rosa Parks, who in 1955 touched off a crucial battle for desegregation simply by refusing to sit in the "negro" section of a Montgomery bus, attended the tribute and lauded Poitier as "a great actor and role model."

In 1972 Poitier took a co-starring role with Belafonte in the revisionist western Buck and the Preacher for Columbia Pictures. After a falling out with the director of the picture, Poitier took over; though he and Belafonte urged Columbia to hire another director, a studio representative saw footage Poitier had shot and encouraged him to finish the film himself. "And that's how I became a director, " he told Los Angeles Times contributor Champlin.

Poitier is best known for helming comedic features co-starring his friend comedian Bill Cosby; in addition to the trilogy of caper comedies of the 1970s - Uptown Saturday Night, Let's Do It Again, and A Piece of the Action - they collaborated on the ill-fated 1990 fantasy-comedy Ghost Dad, which was poorly received by both critics and moviegoers. Poitier also directed the hit 1980 comedy Stir Crazy, which starred Richard Pryor and Gene Wilder, as well as several other features.

Poitier took only a handful of film roles in the 1980s, but in 1991 he played Supreme Court justice Thurgood Marshall in the television film Separate but Equal. James Earl Jones described the performance as "a landmark actor portraying a landmark figure, in one of the landmark moments of our history." And in 1992 he returned to the big screen for the espionage comedy-drama Sneakers, which co-starred Robert Redford, River Phoenix, and Dan Aykroyd. "It was a wonderful, breezy opportunity to play nothing heavy, " he noted to Bary Koltnow of the Orange County Register. "It was simple, and I didn't have to carry the weight. I haven't done that in a while, and it was refreshing."

That year also saw the gala AFI tribute to Poitier, during which the actor welcomed young filmmakers into the fold and enjoined them to "be true to yourselves and be useful to the journey, " reported Daily Variety. "I fully expected to be wise by now, " Poitier noted in his speech, "but I've come to this place in my life armed only with the knowledge of how little I know. I enter my golden years with nothing profound to say and no advice to leave, but I thank you for paying me this great honor while I still have hair, and my stomach still has not obscured my view of my shoetops."

Poitier observed to Champlin that during this "golden age" the demands of art had taken a back seat to domestic concerns to a large degree. "It's very important, but it's not the nerve center, " he insisted. "There is the family, and there is music and there is literature" as well as political issues. Poitier noted that he and his wife, actress Joanna Shimkus, travel a great deal since they reside in California and have children in New York, and, as the actor put it, "I live in the world."

Poitier returned to the small screen for 1995's western drama Children of the Dust. As a presence, reported Chris Dafoe of the Los Angeles Times, "it's apparent that he's viewed with respect, even awe, by virtually everyone on the set." Costar Michael Moriarty observed that Poitier lived up to his legendary status: "You see a face that you've grown up with and admired, someone who was an icon of America, a symbol of strength and persistence and grace. And then you find out that in the everyday, workaday work of doing movies, he is everything he symbolizes on screen."

Poitier continued to star in television movies with 1996's To Sir With Love II (directed by Peter Bogdanovich) and the 1997 Showtime docudrama Mandela and de Klerk. The latter tells the story of Nelson Mandela's last years in prison to his election as leader of South Africa. Both received mixed reviews.

For Poitier, the challenge of doing meaningful work involves transcending the racial and social barriers he helped tumble with his early film appearances. He has insisted that large budgets are not necessary to make a mark and that violence too often seems the only way to resolve conflicts on the screen. "We suffer pain, we hang tight to hope, we nurture expectations, we are plagued occasionally by fears, we are haunted by defeats and unrealized hopes, " he said of humans in general in his interview with Champlin, adding that "when you make drama of that condition, it's almost as if words are not necessary. It has its own language - spoken everywhere, understood everywhere."

Further Reading

American Film, September 1991, pp. 18-21, 49.

Daily Variety, March 16, 1992, p. 18.

Los Angeles Times, March 8, 1992 (Calendar), p. 8; March 14, 1992, pp. F1, F4; February 26, 1995 (Television Times), pp. 5-6.

New York Times, April 6, 1996, p. A20; February 15, 1997, p. A15.

Orange County Register, September 11, 1992, p. P6.

Times (London), November 8, 1992.

actor; movie director

Personal Information

Born in 1927 in Miami, FL; son of Reginald (a tomato farmer) and Evelyn Poitier; married Juanita Hardy, 1950 (divorced 1965) married Joanna Shimkus (an actress), c. 1976; children: Beverly, Pamela, Sherri, Gina (with Hardy); Anika, Sydney (with Shimkus).
Military/Wartime Service: Served briefly in U.S. Army.
Memberships: Named to board of directors of Walt Disney Corporation, 1994-.

Career

Worked as dishwasher and as janitor at American Negro Theater, New York City, early 1940s; stage appearances include Days of Our Youth, Lysistrata, Anna Lucasta, and A Raisin in the Sun; appeared in numerous films; wrote screenplay, For Love of Ivy, 1965; Free of Eden, executive producer, 1999; wrote autobiography, This Life, 1981; wrote second memoir, The Measure of A Man, 2000; named Bahamas' ambassador to Japan, 1997-.

Life's Work

At a 1992 banquet sponsored by the American Film Institute (AFI), a bevy of actors, filmmakers, and others gathered to pay tribute to Sidney Poitier. Superstar Denzel Washington called the veteran actor and director "a source of pride for many African Americans," the Los Angeles Times reported, while acting luminary James Earl Jones ventured that his colleague had "played a great role in the life of our country." Poitier himself was typically humble in the face of such praise, but he has acknowledged that his presence on film screens in the 1950s and 1960s did much to open up larger and more nuanced roles for black performers. "I was selected almost by history itself," he averred to Susan Ellicott of the London Times.

After gracing dozens of films with his dignified, passionately intelligent presence, Poitier began to focus increasingly on directing; a constant in his life, however, has been his work on behalf of charitable causes. And he has continued to voice the need for film projects that, as he expressed it to Los Angeles Times writer Charles Champlin, "have a commonality with the universal human condition."

Born in Miami, Florida, but raised in the Bahamas, Poitier experienced severe poverty as a boy. His father, a tomato farmer, "was the poorest man in the village," the actor recalled in an interview with Frank Spotnitz for American Film. "My father was never a man of self-pity," he continued, adding that the elder Poitier "had a wonderful sense of himself. Every time I took a part, from the first part, from the first day, I always said to myself, 'This must reflect well on his name.'" The family moved from the tiny village of Cat Island to Nassau, the Bahamian capital, when Poitier was 11 years old, and it was there that he first experienced the magic of cinema.

After watching, rapt, as a western drama transpired on the screen, Poitier ran to the back of the theater to watch the cowboys and their horses come out. After watching the feature a second time, he again went out to wait for the figures from the screen to emerge. Poited told the Los Angeles Times, "And when I told my friends what had happened, they laughed and they laughed and they said to me, 'Everything you saw was on film.' And they explained to me what film was. And I said, 'Go on.'"

Thrown Out of First Audition

Poitier made his way to New York at age 16, serving for a short time in the Army. He has often told the story of his earliest foray into acting, elaborating on different strands of the tale from one recitation to the next. He was a teenager, working as a dishwasher in a New York restaurant. "I didn't study in high school," he told American Film's Spotnitz. "I never got that far. I had no intentions of becoming an actor." Seeing an ad for actors in the Amsterdam News, a Harlem-based newspaper, he went to an audition at the American Negro Theater. "I walked in and there was a man there--big strapping guy. He gave me a script."

The man was Frederick O'Neal, a cofounder of the theater; impatient with young Poitier's Caribbean accent and shaky reading skills, O'Neal lost his temper: "He came up on the stage, furious, and grabbed me by the scruff of my pants and my collar and marched me toward the door," the actor remembered to Los Angeles Times writer Champlin. "Just before he threw me out he said, 'Stop wasting people's time! Why don't you get yourself a job as a dishwasher.'" Stunned that O'Neal could perceive his lowly status, Poitier knew he had to prove his antagonist wrong. "I have, and had, a terrible fierce pride," Poitier told the audience at the American Film Institute fête, as reported by Daily Variety. "I determined right then I was going to be an actor."

Poitier continued in his dishwashing job; in his spare time he listened assiduously to radio broadcasts, he noted to Champlin, "trying to lighten the broad A that characterizes West Indian speech patterns." He had some help in one aspect of his informal education, however: Daily Variety quoted his speech at the AFI banquet, in which he thanked "an elderly Jewish waiter in New York who took the time to teach a young black dishwasher how to read, persisting over many months." Ultimately, Poitier returned to the American Negro Theater, persuading its directors to hire him as a janitor in exchange for acting lessons.

Poitier understudied for actor-singer Harry Belafonte in a play called Days of Our Youth, and an appearance one night led to a small role in a production of the Greek comedy Lysistrata. Poitier, uncontrollably nervous on the latter play's opening night, delivered the wrong lines and ran off the stage; yet his brief appearance so delighted critics, most of whom otherwise hated the production, that he ended up getting more work. "I set out after that to dimensionalize my understanding of my craft," he told Champlin.

Poitier made his film debut in the 1950 feature No Way Out, portraying a doctor tormented by the racist brother of a man whose life he couldn't save. Director Joseph Mankiewicz had identified Poitier's potential, and the film bore out the filmmaker's instincts. Poitier worked steadily throughout the 1950s, notably in the South African tale Cry, the Beloved Country, the classroom drama The Blackboard Jungle, and the taut The Defiant Ones, in which Poitier and Tony Curtis played prison escapees manacled together; their mutual struggle helps them look past racism and learn to respect each other. Poitier also appeared in the film version of George Gershwin's modern opera Porgy and Bess.

First Black Actor to Win Academy Award

It was in the 1960s, however--with the civil rights movement spearheaded by Dr. Martin Luther King, Jr., and others gathering momentum--that Poitier began to make his biggest mark on American popular culture. After appearing in the film adaptation of Lorraine Hansberry's play, A Raisin in the Sun, in a role he'd developed on the stage, he took the part of an American serviceman in Germany in the 1963 production Lilies of the Field. This role earned him a best actor statuette at the Academy Awards, making him the first black actor to earn this honor.

"Most of my career unfolded in the 1960s, which was one of the periods in American history with certain attitudes toward minorities that stayed in vogue," Poitier reflected to Ellicott of the London Times. "I didn't understand the elements swirling around. I was a young actor with some talent, an enormous curiosity, a certain kind of appeal. You wrap all that together and you have a potent mix."

The mix was more potent than might have been anticipated, in fact; by 1967 Poitier was helping to break down filmic barriers that hitherto had seemed impenetrable. In To Sir, With Love Poitier played a charismatic schoolteacher, while In the Heat of the Night saw him portray Virgil Tibbs, a black detective from the North who helps solve a murder in a sleepy southern town and wins the grudging respect of the racist police chief there. Responding to the derisive labels flung at him, Poitier's character glowers, "They call me Mister Tibbs." The film's volatile mixture of suspense and racial politics eventually spawned two sequels starring Poitier and a television series (Poitier did not appear in the small screen version).

Even more stunning, Poitier wooed a white woman in the comedy Guess Who's Coming to Dinner; his fiancée's parents were played by screen legends Spencer Tracy and Katherine Hepburn. The film was considered a watershed because it was Hollywood's first interracial love story that didn't end tragically. Poitier's compelling presence--articulate, compassionate, soft-spoken, yet demanding respect from even the most hostile--helped make this possible. Reflecting on the anti-racist agenda of filmmakers during this period, Poitier remarked to Ellicott, "I suited their need. I was clearly intelligent. I was a pretty good actor. I believed in brotherhood, in a free society. I hated racism, segregation. And I was a symbol against those things."

Key Activist for Civil Rights

Of course, Poitier was more than a symbol. At the AFI banquet, reported David J. Fox in the Los Angeles Times, James Earl Jones praised his friend's work on behalf of the civil rights struggle, declaring, "He marched on Montgomery [Alabama] and Memphis [Tennessee] with Dr. Martin Luther King, Jr., who said of Sidney: 'He's a man who never lost his concern for the least of God's children.'" Indeed, Rosa Parks, who in 1955 touched off a crucial battle for desegregation simply by refusing to sit in the "negro" section of a Montgomery bus, attended the tribute and lauded Poitier as "a great actor and role model."

In 1972 Poitier took a co-starring role with Belafonte in the revisionist western Buck and the Preacher for Columbia Pictures. After a falling out with the director of the picture, Poitier took over; though he and Belafonte urged Columbia to hire another director, a studio representative saw footage Poitier had shot and encouraged him to finish the film himself. "And that's how I became a director," he told Los Angeles Times contributor Champlin.

Poitier is best known for helming comedic features co-starring his friend and comedian Bill Cosby; in addition to the trilogy of caper comedies of the 1970s Uptown Saturday Night, Let's Do It Again, and A Piece of the Action--they collaborated on the ill-fated 1990 fantasy-comedy Ghost Dad, which was poorly received by both critics and moviegoers. Poitier also directed the hit 1980 comedy Stir Crazy, which starred Richard Pryor and Gene Wilder, as well as several other features.

Poitier took only a handful of film roles in the 1980s, but in 1991 he played Supreme Court justice Thurgood Marshall in the television film Separate but Equal. James Earl Jones described the performance as "a landmark actor portraying a landmark figure, in one of the landmark moments of our history." And in 1992 he returned to the big screen for the espionage comedy-drama Sneakers, which co-starred Robert Redford, River Phoenix, and Dan Aykroyd. "It was a wonderful, breezy opportunity to play nothing heavy," he noted to Bary Koltnow of the Orange County Register. "It was simple, and I didn't have to carry the weight. I haven't done that in a while, and it was refreshing."

That year also saw the AFI tribute gala for Poitier, during which the actor welcomed young filmmakers into the fold and enjoined them to "be true to yourselves and be useful to the journey," reported Daily Variety. "I fully expected to be wise by now," Poitier noted in his speech, "but I've come to this place in my life armed only with the knowledge of how little I know. I enter my golden years with nothing profound to say and no advice to leave, but I thank you for paying me this great honor while I still have hair, and my stomach still has not obscured my view of my shoetops."

Poitier observed to Champlin that during this "golden age" the demands of art had taken a back seat to domestic concerns to a large degree. "It's very important, but it's not the nerve center," he insisted. "There is the family, and there is music and there is literature" as well as political issues. Poitier noted that he and his wife, actress Joanna Shimkus, travel a great deal since they reside in California and have children in New York, and, as the actor put it, "I live in the world."

Poitier returned to the small screen for 1995's western drama Children of the Dust. As a presence, reported Chris Dafoe of the Los Angeles Times, "it's apparent that he's viewed with respect, even awe, by virtually everyone on the set." He continued to work periodically, including working with his daughter, Sydney--also an actress--and was also the subject of an American Masters documentary, "Sidney Poitier: One Bright Light." He also re-created the role of Mark Thackery in a sequel to To Sir With Love.

Poitier, who has a dual American-Bahamian citizenship, was appointed as the Bahamian ambassador to Japan. He also wrote his second memoir, The Measure of A Man. The audiobook version, which he narrated, won a Grammy for Best Spoken Word Album. He has also received many honors and awards. In 2002 he received an honorary Oscar for a career that, according to Variety, signaled a turning point for African Americans in film. He was also on hand to witness the second African-American male to win an Oscar for Best Actor, and to see the first African-American female to win for Best Actress.

Poitier has received many awards and honors for both his tremendous body of work in film and his humanitarian efforts. He was named one of the AFI's fifty greatest screen legends. He was presented with the NAACP's Hall of Fame Award for his constant depiction of positive screen images. He was also honored by the Screen Actors Guild (SAG) with a lifetime achievement award. Costar Michael Moriarty observed that Poitier lived up to his legendary status: "You see a face that you've grown up with and admired, someone who was an icon of America, a symbol of strength and persistence and grace. And then you find out that ... he is everything he symbolizes on screen." Poitier commented to Parade magazine--quoted by Jet--"I was the only person. It took an awful long time for there to be enough flexibility in attitudes in this business for there to be room for others." He also stated in Jet, "I've been at this game for 52 years. I would only like to continue if what's ahead of me complements what's behind me."

Awards

Academy Award, best actor, for Lilies of the Field, 1964, honorary award, 2002; American Film Institute, Life Achievement Award, 1992, named one of 50 greatest screen legends, 1999; New York's Associated Black Charities, Black History Maker Award, 1997; Screen Actors Guild, Lifetime Achievement Award, 2000; NAACP, Hall of Fame Award, 2001; Grammy, Best Spoken Word Album, 2001.

Works

Selected filmography

• Films
• No Way Out, 1949.
• Cry, the Beloved Country, 1952.
• The Blackboard Jungle, 1955.
• Edge of the City, 1957.
• Something of Value, 1957.
• The Defiant Ones, 1958.
• Porgy and Bess, 1959.
• All the Young Men, 1960.
• A Raisin in the Sun, 1961.
• Lilies of the Field, 1963.
• The Long Ships, 1964.
• The Bedford Incident, 1965.
• The Greatest Story Ever Told, 1965.
• A Patch of Blue, 1965.
• The Slender Thread, 1965.
• Guess Who's Coming to Dinner, 1967.
• In the Heat of the Night, 1967.
• To Sir, With Love, 1967.
• For Love of Ivy, 1968.
• The Lost Man, 1969.
• They Call Me Mr. Tibbs, 1970.
• Buck and the Preacher, 1972.
• A Warm December, 1973.
• Uptown Saturday Night, 1974.
• Let's Do It Again, 1975.
• A Piece of the Action, 1977.
• Shoot to Kill, 1988.
• Little Nikita, 1988.
• Sneakers, 1992.
• The Jackal, 1997.
• Television
• Separate but Equal, 1991.
• Children of the Dust, 1995.
• To Sir With Love 2, 1996.
• Mandela and de Klerk, Showtime, 1997.
• Free of Eden, Showtime, 1999.
• The Simple Life of Noah Dearboan, 1999.
• Last Brickmaker in America, 2001.
• As Director
• Buck and the Preacher, 1972.
• A Warm December, 1973.
• Uptown Saturday Night, 1974.
• Let's Do It Again, 1975.
• A Piece of the Action, 1977.
• Stir Crazy, 1980.
• Hanky-Panky, 1982.
• Fast Forward, 1985.
• Ghost Dad, 1990.

Further Reading

Books

• Who's Who Among African Americans, 14th Edition, Gale, 2001.

Periodicals

• American Film, September 1991, pp. 18-21, 49.
• Daily Variety, March 16, 1992, p. 18.
• Jet, February 17, 1997, p. 63; March 3, 1997, pp. 52-53; March 27, 2000, p. 54; March 19, 2001, p. 54.
• Knight-Ridder Tribune News Service, April 13, 2001; March 22, 2002.
• Library Journal, May 15, 2001, p. 182.
• Los Angeles Times, March 8, 1992 (Calendar), p. 8; March 14, 1992, pp. F1, F4; February 26, 1995 (Television Times), pp. 5-6.
• Orange County Register, September 11, 1992, p. P6.
• Publishers Weekly, May 1, 2000, p. 63.
• Time, April 28, 1997, p. 83; September 22, 1997, p. 103.
• Times (London), November 8, 1992.
• Variety, March 4, 2002, p.S20.

On-line

• Internet Movie Database, www.imdb.com

— Simon Glickman and Ashyia N. Henderson

To Sir With Love -- the movie

On this date in 1964 Sidney Poitier became the first African American actor to win an Academy Award, for his performance in Lilies of the Field (released in 1963). Poitier grew up in the Bahamas, and moved to the US to try his hand at an acting career. He was nominated for an earlier Academy Award in 1958 for The Defiant Ones, a role which brought him a BAFTA award. In 2002, the Academy awarded Poitier a Lifetime Achievement award.

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From our Archives: Today's Highlights, April 13, 2005

Poitier, Sidney, 1927-, American actor, b. Miami, raised in the Bahamas, returned to the United States at 15. The first African-American actor to achieve leading man status in Hollywood films, Poitier combines attractiveness and poise with an innate projection of dignity and self-assurance. Many of his plays and films have directly addressed issues of race, including his Broadway triumph, Lorraine Hansberry's A Raisin in the Sun (1959, film 1961), and such films as the pioneering No Way Out (1950), his movie debut; the internationally acclaimed Cry, the Beloved Country (1951), after Alan Paton's novel; The Defiant Ones (1957), the film that established Poitier's reputation; Lilies of the Field (1963; Academy Award); Guess Who's Coming to Dinner? (1967), which treated the subject of interracial marriage; and In the Heat of the Night (1967). He turned to directing in 1971; among his films are Buck and the Preacher (1972), A Patch of Blue (1973), and Stir Crazy (1980). In 1991 he portrayed Thurgood Marshall in the Emmy-winning television film Separate but Equal.

Bibliography

See his autobiographies, This Life (1980) and The Measure of a Man (2000); biography by A. Goudsouzian (2004).

Quotes:

"If you apply reason and logic to this career of mine, you're not going to get very far. You simply won't. The journey has been incredible from its beginning. So much of life, it seems to me, is determined by pure randomness."

Biography

Sidney Poitier was to Hollywood what Jackie Robinson was to major league baseball: simply put, the man who broke the color barrier. An actor, director, and producer, he forever altered the racial perceptions long held by both motion picture audiences and executives, rising to superstar status in an industry forever dominated on both sides of the camera by whites while becoming the first African-American ever to take home an Oscar for Best Actor. Born February 20, 1927, in Miami, FL, Poitier grew up in poverty in the British West Indies. After quitting school at the age of 13, he later joined the U.S. Army, serving in World War II as a medical assistant. Upon his release from duty he relocated to New York City, where he auditioned for the American Negro Theater. When his heavy Bahamian accent prompted laughter from producers, Poitier spent the next six months honing his elocution skills, practicing his enunciation by repeating radio routines, and finally gaining admission to the theatrical troupe's ranks after his second audition.

Handsome and athletic, Poitier made his Broadway debut in 1946 in an all-black production of Lysistrata, and moved into films four years later with No Way Out. His impressive turn in 1955's gritty The Blackboard Jungle brought him closer to stardom, and in 1958 he earned his first Academy Award nomination opposite Tony Curtis in Stanley Kramer's social drama The Defiant Ones. The film's focus on racial politics, as well as his increasing popularity with audiences of all racial backgrounds, solidified Poitier's standing as a key figure in the burgeoning civil rights movement, as roles in features including 1959's Porgy and Bess and 1961's Raisin in the Sun established him as the premier black actor of his generation. For 1963's The Lilies of the Field, he made history as the first African-American actor to win an Oscar in a leading role, and with the mainstream success of 1965's A Patch of Blue and 1967's To Sir, With Love, his ascent to superstardom was complete.

Much to his credit, Poitier continued to make racially provocative films; in 1967 he appeared in Kramer's Guess Who's Coming to Dinner as the black fiancé of a white woman, while in the same year's Best Picture-winning In the Heat of the Night, he starred as a Philadelphia police detective facing prejudice while investigating a murder in the Deep South. In 1969, Poitier founded the First Artists Production Company, and in 1972 -- at the peak of the blaxploitation era which his earlier success made commercially viable -- announced his directorial debut with Buck and the Preacher. He directed and starred in his next three films (1973's Warm December, 1974's Uptown Saturday Night, and 1975's Let's Do It Again) before starring in Ralph Nelson's 1975 South African political thriller The Wilby Conspiracy, after which he returned to the director's chair with 1977's A Piece of the Action.

After directing the 1980 comedy Stir Crazy, Poitier began to decrease his workload; he helmed two more features, 1982's Hanky Panky and 1984's Fast Forward, but then disappeared from filmmaking for the next several years. In 1988, Poitier appeared onscreen for the first time in over a decade in Roger Spottiswoode's thriller Shoot to Kill, followed by a supporting turn in the espionage drama Little Nikita. Upon directing 1990's disastrous Bill Cosby comedy Ghost Dad, he starred as Supreme Court Justice Thurgood Marshall in the television feature Separate But Equal, and in 1992 appeared in the star-studded Sneakers. After another extended absence, Poitier returned in 1995 in the TV movie Children of the Dust, and in 1996 he starred in the long-awaited follow-up to his '67 success To Sir With Love, TV's To Sir With Love 2. ~ Jason Ankeny, Rovi

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