Poitier, Sidney

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    The Artists We Lost in 2022, in Their Words

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    Music innovators who sang of coal country and “Great Balls of Fire.” An actress who made a signature role out of a devilish baker who meets a fiery end. The trailblazing heart of “In the Heat of the Night.”The creative people who died this year include many whose lives helped shape our own — through the art they made, and through the words they said. Here is a tribute to just some of them, in their own voices.Sidney Poitier.Sam Falk/The New York Times“Life offered no auditions for the many roles I had to play.”— Sidney Poitier, actor, born 1927 (Read the obituary.)“People in the past have done what we’re trying to do infinitely better. That’s why, for one’s own sanity, to keep one’s own sense of proportion, one must regularly go back to them.”— Peter Brook, director, born 1925 (Read the obituary.)Ronnie Spector.Art Zelin/Getty Images“Every song is a little piece of my life.”— Ronnie Spector, singer, born 1943 (Read the obituary.)Yuriko.Jack Mitchell/Getty Images“Dance is living. Dance is, for me, it’s survival.”— Yuriko, dancer, born 1920 (Read the obituary.)Kirstie Alley.Vinnie Zuffante/Michael Ochs Archives, via Getty Images“The question is, how do you create with what you have?”— Kirstie Alley, actress, born 1951 (Read the obituary.)Carmen Herrera.Todd Heisler/The New York Times“Every painting has been a fight between the painting and me. I tend to win. But you know how many paintings I threw in the garbage?”— Carmen Herrera, artist, born 1915 (Read the obituary.)“I decided that in every scene, you’re naked. If you’re dressed in a parka, what’s the difference if you’re dressed in nothing at all, if you’re exploring yourself?”— William Hurt, actor, born 1950 (Read the obituary.)Takeoff.Rich Fury/Getty Images For Global Citizen“You gotta have fun with a song, make somebody laugh. You gotta have character. A hard punchline can make you laugh, but you gotta know how to say it.”— Takeoff, rapper, born 1994 (Read the obituary.)“I love watching people get hit in the crotch. But only if they get back up.”— Bob Saget, comedian and actor, born 1956 (Read the obituary.)Olivia Newton-John.Las Vegas News Bureau/EPA, via Shutterstock“I do like to be alone at times, just to breathe.”— Olivia Newton-John, singer, born 1948 (Read the obituary.)“Movies are like clouds that sit over reality: If I do cinema well, I can uncover what is beneath, my friends, my allies, what I am, where I come from.”— Jean-Luc Godard, director, born 1930 (Read the obituary.)Sam Gilliam.Anthony Barboza/Getty Images“The expressive act of making a mark and hanging it in space is always political.”— Sam Gilliam, artist, born 1933 (Read the obituary.)“Everyone says that I was a role model. But I never thought of it when I was doing the music and when I was performing. I just wanted to make good music.”— Betty Davis, singer-songwriter, born 1944 (Read the obituary.)Nichelle Nichols.Albert L. Ortega/Getty Images“The next Einstein might have a Black face — and she’s female.”— Nichelle Nichols, actress, born 1932 (Read the obituary.)“If I could have dinner with anyone, dead or alive, it would be with Albert Einstein at Panzanella.”— Judy Tenuta, comedian, born 1949 (Read the obituary.)“In time, writers learn that good fiction editors care as much about the story as the writer does, or almost, anyway. And you really often end up, the three of you — the writer, and the editor, and the story — working on this obdurate, beautiful thing, this brand-new creation.”— Roger Angell, writer and editor, born 1920 (Read the obituary.)Jennifer Bartlett.Susan Wood/Getty Images“I spent 30 years trying to convince people and myself that I was smart, that I was a good painter, that I was this or that. It’s not going to happen. The only person that it should happen for is me. This is what I was meant to do.”— Jennifer Bartlett, artist, born 1941 (Read the obituary.)Christine McVie.P. Floyd/Daily Express, via Hulton Archive and Getty Images“I didn’t aspire to be on the stage playing piano, let alone singing, because I never thought I had much of a voice. But my option was window-dresser or jump off the cliff and try this. So I jumped off the cliff.”— Christine McVie, musician and songwriter, born 1943 (Read the obituary.)“Sometimes you have to put yourself on the edge. You go to the precipice and lean over it.”— Maria Ewing, opera singer, born 1950 (Read the obituary.)Taylor Hawkins.John Atashian/Getty Images“There’s so much in what I do that is beyond hard work — there’s luck and timing and just being in the right place at the right time with the right hairdo.”— Taylor Hawkins, drummer, born 1972 (Read the obituary.)“I was primarily an actress and not a pretty face.”— Angela Lansbury, actress, born 1925 (Read the obituary.)“I always try to improve upon what I’ve done. If something’s not working, I’ll change it to make it better. I’m an artist and a performer above all, and I don’t limit myself.”— Elza Soares, singer, born 1930 (Read the obituary.)Leslie Jordan.Fred Prouser/Reuters“I’m always working, always. I got to keep the ship afloat.”— Leslie Jordan, actor, born 1955 (Read the obituary.)“The reward of the work has always been the work itself.”— David McCullough, historian and author, born 1933 (Read the obituary.)“To me, sitting at a desk all day was not only a privilege but a duty: something I owed to all those people in my life, living and dead, who’d had so much more to say than anyone ever got to hear.”— Barbara Ehrenreich, author, born 1941 (Read the obituary.)James Caan.Jack Robinson/Hulton Archive, via Getty Images“Passion is such an important thing to have in life because it ends so soon, and my passion was to grow up with my son.”— James Caan, actor, born 1940 (Read the obituary.)Tina Ramirez.Michael Falco for The New York Times“Words are unnecessary when movement and feeling and expression can say it all.”— Tina Ramirez, dancer and founder of Ballet Hispánico, born 1929 (Read the obituary.)Claes Oldenburg.Tony Evans/Getty Images“I haven’t done anything on the subject of flies. It’s the sort of thing that could interest me. Anything could interest me, actually.”— Claes Oldenburg, artist, born 1929 (Read the obituary.)“A skull is a beautiful thing.”— Lee Bontecou, artist, born 1931 (Read the obituary.)“I like to write strong characters who are no better or worse than anybody else on earth.”— Charles Fuller, playwright, born 1939 (Read the obituary.)Ray Liotta.Aaron Rapoport/Corbis, via Getty Images“One review said I played a sleazy, heartless, cold person who you don’t really care about. Great! I love it; that’s what I played.”— Ray Liotta, actor, born around 1954 (Read the obituary.)Jerry Lee Lewis.Thomas S. England/Getty Images“There’s a difference between a phenomenon and a stylist. I’m a stylist, Elvis was the phenomenon, and don’t you forget it.”— Jerry Lee Lewis, musician, born 1935 (Read the obituary.)“All of us have something built into our ears that comes from the place where we grow up and where we were as children.”— George Crumb, composer, born 1929 (Read the obituary.)Anne Heche. SGranitz/WireImage, via Getty Images“People wonder why I am so forthcoming with the truths that have happened in my life, and it’s because the lies that I have been surrounded with and the denial that I was raised in, for better or worse, bore a child of truth and love.”— Anne Heche, actress, born 1969 (Read the obituary.)Louie Anderson.Gary Null/NBCUniversal, via Getty Images“That’s my goal every night: Hopefully at some point in my act, you have forgotten whatever trouble you had when you came in.”— Louie Anderson, comedian and actor, born 1953 (Read the obituary.)“Adult human beings live with the certainty of grief, which deepens us and opens us to other people, who have been there, too.”— Peter Straub, author, born 1943 (Read the obituary.)Ned Rorem.Fred R. Conrad/The New York Times“I believe in the importance of the unimportant — in the quotidian pathos.”— Ned Rorem, composer, born 1923 (Read the obituary.)Gilbert Gottfried.Fred Hermansky/NBC, via Getty Images“I don’t always mean to offend. I only sometimes mean to offend.”— Gilbert Gottfried, comedian, born 1955 (Read the obituary.)“Merce Cunningham is quoted somewhere as saying he wanted a company that danced the way he danced. I kept doing the same thing. And I began to wonder why I was insisting that they be as limited as I am.”— David Gordon, choreographer, born 1936 (Read the obituary.)Hilary Mantel.Ellie Smith for The New York Times“The universe is not limited by what I can imagine.”— Hilary Mantel, author, born 1952 (Read the obituary.)“Getting the right people with a shared vision is three-quarters of the battle.”— Anne Parsons, arts administrator, born 1957 (Read the obituary.)Paula Rego.Rita Barros/Getty Images“My paintings are stories, but they are not narratives, in that they have no past and future.”— Paula Rego, artist, born 1935 (Read the obituary.)Javier Marías.Quim Llenas/Getty Images“When you are addressing your fellow citizens, you have to give some hope sometimes, even if you want to say that everything is terrible, that we are governed by a bunch of gangsters. In a novel, you can be much more pessimistic. You are more savage, you are wilder, you are freer, you think truer, you think better.”— Javier Marías, author, born 1951 (Read the obituary.)“Art is not blameless. Art can inflict harm.”— Richard Taruskin, musicologist, born 1945 (Read the obituary.)“I am a worker who labors with songs, doing in my own way what I know best, like any other Cuban worker. I am faithful to my reality, to my revolution and the way in which I have been brought up.”— Pablo Milanés, musician, born 1943 (Read the obituary.)Peter Bogdanovich.Evening Standard/Hulton Archive, via Getty Images“Success is very hard. Nobody prepares you for it. You think you’re infallible. You pretend you know more than you do.”— Peter Bogdanovich, director, born 1939 (Read the obituary.)Loretta Lynn.CBS Photo Archive/Getty Images“I think the highest point of my career was in the late ’70s. I had No. 1 songs, a best-selling book and a movie made about my life. But I think it was also the lowest point for me as well. Life gets away from you so fast when you move fast.”— Loretta Lynn, singer-songwriter, born 1932 (Read the obituary.)Thich Nhat Hanh.Golding/Fairfax Media, via Getty Images“Many of us have been running all our lives. Practice stopping.”— Thich Nhat Hanh, monk and author, born 1926 (Read the obituary.)Photographs at top via CBS Photo Archive/Getty Images; Anthony Barboza/Getty Images; Evening Standard/Hulton Archive, via Getty Images; Albert L. Ortega/Getty Images. More

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      ‘Sidney’ Review: A Lovingly Assembled Career Portrait

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      Sidney Poitier is memorialized in this thorough, and thoroughly conventional, documentary.“Sidney,” a documentary about the actor and filmmaker Sidney Poitier, who died in January, is a compendium of hero worship. The director is Reginald Hudlin, but, in tone and temperament, this lovingly assembled encomium is peak Oprah Winfrey. As one of the film’s producers and a close friend of Poitier (whom she calls her “great Black hope”), Winfrey glows with emotional authenticity. Her breakdown at the end is unexpectedly moving, if not entirely unexpected.Oblivious to the film’s fire hose of adulation and thicket of talking heads, Poitier (speaking mainly in a 2012 interview with Winfrey) softly addresses the camera, unfailingly modest and supremely chill. Around him, Hudlin unrolls a life that, Poitier believed, fulfilled the predictions of the soothsayer his mother consulted when he was not expected to survive infancy. Having exchanged Bahamian poverty for Jim Crow-era America, barely literate, he claimed, and baffled by segregation, Poitier discovered that acting was therapy, a way to express the many personalities roiling inside him. (Much later, he would require many years of actual therapy in part to process his love affair with the gorgeous Diahann Carroll.)Painstakingly thorough, “Sidney” scans a career freighted with political and social significance, its litany of firsts — including the first Black leading man to win an Oscar for best actor; the first Black director to make a $100 million movie — no deterrence to those who would later accuse Poitier of subservience to the desires of white audiences. Spotlighting the courage of Poitier’s civil rights activism and the daring of his acting choices, Hudlin labors to convey their significance to Black Americans: The man who had grown up without ever seeing a mirror was now tasked with reflecting Black lives back to an audience avid for recognition.The inescapable impression is of a picture buckling beneath the weight of its subject’s achievements. Yet there are moments when the focus shifts and the movie shrugs off its hagiographic shackles: Lulu, the Scottish pop star, belting out the theme of “To Sir, With Love” (1967), her pipes barely corroded; the tart, mischievous interjections of interviewees like Denzel Washington and Spike Lee; and Poitier’s first wife, the admirable Juanita Brady, explaining how she gave her inexperienced spouse critical financial advice, even selling her mink coat to invest in “A Raisin in the Sun,” the 1959 stage play in which he starred.These interludes act like lemon juice squirted on heavy cream, brief reagents in a movie that, despite the meticulousness of its making, seems a peculiarly orthodox tribute to a revolutionary life.SidneyRated PG-13 for racial slurs. Running time: 1 hour 46 minutes. Watch on AppleTV+. More

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      Poitier and Bogdanovich: The Defiant Ones

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      Sidney Poitier and Peter Bogdanovich were geniuses of the Hollywood system who, with great success and frustration, worked to transform it in the same era.Last week, the movies lost two giants — Sidney Poitier and Peter Bogdanovich — who each made history in his own way. Our chief film critics discussed the men, their careers and their legacies.MANOHLA DARGIS When Poitier and Bogdanovich died last week, you and I talked about how each had helped shape the periods in which they emerged. I’ve been thinking about that ever since. We know their careers briefly overlapped: Bogdanovich directed Poitier in the 1996 TV movie “To Sir, With Love 2,” a sequel to the 1967 film. For the most part, though, they had separate trajectories partly shaped by race, personal choices and what was happening both in the country and the industry.It’s fascinating to trace the arcs of these separate paths. Poitier’s begins first, with his big big-studio break, the 1950 drama “No Way Out.” He was working in Jim Crow Hollywood that he would later help overturn, but it took so long. In some ways, the pressures and contradictions he faced came to a head at the end of the decade first with the release of “The Defiant Ones” in 1958, in which he has equal billing with Tony Curtis. A year later, though, Poitier is on his knees playing Porgy in “Porgy and Bess,” a role that he’d rejected but was effectively forced into taking.A.O. SCOTT Bogdanovich was fundamentally a historian. Poitier was a history maker. When we started talking about them side by side, it wasn’t to compare their achievements, but to look at how their very different careers illuminated the changes underway in American movies after the studio era.Poitier came up in that system and had no illusions about its interest in racial progress. “Hollywood never really had much of a conscience,” he told an interviewer. “The social conscience that you’re talking about” — the durable myth of liberal Hollywood — “was always only a handful of men,” among them Joseph L. Mankiewicz, who made “No Way Out” and Stanley Kramer, who directed “The Defiant Ones.” “This town never was infected by that kind of goodness,” Poitier said. He could never romanticize Old Hollywood the way Bogdanovich did.Poitier with Tony Curtis in “The Defiant Ones.” Poitier never romanticized Old Hollywood.United ArtistsDARGIS Absolutely — among other things, I doubt that Poitier would have had access to all those at-times forgotten Old Hollywood veterans like John Ford and Orson Welles. Bogdanovich championed them in his writing and advocacy, and he learned about moviemaking through their conversations and by watching them work. I was looking at Bogdanovich’s anthology “Who the Devil Made It” and he was 20 when he did his first interview, in 1960, with Sidney Lumet. At that point, Bogdanovich had been studying acting with Stella Adler — presumably one reason he was fantastic with actors — and had worked in some 40 professional stage productions, one he directed. What a wunderkind!That year, Poitier turned 33 and started shooting “Paris Blues,” a film that I love despite its flaws, including his marginalization. Still, the film has Poitier and Diahann Carroll playing lovers and they’re beautiful, and shown as desiring and desirable. Poitier was disappointed with how the film turned out and said the studio had “chickened out on us” — he was always being sold out, it seems by the white powers that be, however ostensibly well-intentioned those powers. In 1960, he also joined a campaign to raise defense funds for the Rev. Dr. Martin Luther King Jr. It takes nothing away from Bogdanovich to say that Poitier lived in an entirely different reality.SCOTT With Bogdanovich, it could seem that reality was defined above all by movies and his love for them. His cinephilia marks him as a charter member, along with guys like George Lucas, Martin Scorsese and Francis Ford Coppola, of what used to be called “the film school generation.” Not that Bogdanovich ever went to film school.“Generally I find film schools disappointing,” he told an audience at the American Film Institute. “They spend far too much time on production and not enough time showing the right films to students. Students need to see the classics.” Some of his best films — the modern-day screwball “What’s Up, Doc?” (1972); the black-and-white, Depression-set road movie “Paper Moon” (1973) — are full of that reverence for tradition.Bogdanovich with Barbra Streisand, who starred in his “What’s Up, Doc?”Warner Bros., via Getty ImagesTatum O’Neal in Bogdanovich’s road movie “Paper Moon.”Paramount PicturesSome of the less good ones, too. In “Nickelodeon” (1976), he tried to bring some of the charm of early cinema into the New Hollywood, casting Ryan O’Neal as an accidental picture-maker and Burt Reynolds as a rough-riding screen idol. They spend the early 1910s scraping together two-reelers and battling industry consolidation, and wind up at the 1915 premiere of D.W. Griffith’s “The Birth of A Nation,” showing under its original title, “The Clansman.” In keeping with the dominant Hollywood origin story of the time, that movie is hailed as an artistic and commercial breakthrough — goodbye nickelodeons, hello movie palaces! — while its celebration of the Ku Klux Klan is brushed aside.The story of the late ’60s, early ’70s renaissance in American movies is conventionally told as a tale of heroic, rebellious white men. But as with the silent era, the truth is more complicated and more interesting. The period was also when Poitier (along with other Black pioneers like Gordon Parks, Ossie Davis and Melvin Van Peebles) turned to directing. He started out with a western, “Buck and the Preacher” (1972), set in the post-Civil War landscape familiar from so many Ford pictures. He also starred in it, with Harry Belafonte and Ruby Dee. Do you think the choice of genre — and his treatment of its tropes — says something about his own relationship to the Hollywood past?DARGIS No doubt, though that relationship to genre was very different from that of those white directors, Bogdanovich included, who revisited (or were swallowed by) classic film forms in the 1960s and ’70s. In Poitier’s memoir “The Measure of a Man,” he talks about seeing his first film as a kid. It was a western and he was so wowed that he told his sister, “I would like to go to Hollywood and become a cowboy.” He didn’t know what Hollywood was; he thought people raised cows there — a child’s misapprehension that’s all the more poignant given how historically unwelcoming the town was to Black talent.One reason Poitier appeared in the western “Duel at Diablo” (1966), he said, was that it gave him an opportunity to create a heroic image for Black children who love westerns. He was apparently disappointed by this movie, as well, and his love for westerns and the complex iconography of the American cowboy were not yet in sync. Imagine the representational weight that his version of “The Wild Bunch” or a “Butch Cassidy and the Sundance Kid” might have carried in the late 1960s! Belafonte and Poitier had been interested in making a western but nothing came of this until they teamed up for “Buck and the Preacher,” which we both adore as much for its behind-the-scenes story as the one onscreen.Poitier got his start directing when he stepped in on “Buck and the Preacher.” Columbia Pictures, via Getty ImagesSCOTT That story is a sign of how things were changing. Belafonte and Poitier were the producers. They didn’t see eye to eye with the first director, Joseph Sargent, and asked Columbia Pictures to replace him. Shooting had already started in Mexico, and Poitier offered to take over temporarily so the production could keep going while the studio looked for someone else. “Finally they called and said, ‘Why don’t you just continue shooting?’” Poitier remembered years later. “That’s how I started directing. I was just thrown into it.”Poitier went on to become one of the most successful comic directors of the next decade, playing straight man to Bill Cosby in the crime-caper trilogy “Uptown Saturday Night” (1974), “Let’s Do It Again” (1975) and “A Piece of the Action” (1977), and steering Richard Pryor and Gene Wilder through the incarceration farce “Stir Crazy” (1980).Those were also Bogdanovich’s best years. We don’t have room to revisit all the dramatic ups and downs of his career, but I think there’s some perspective on that much-mythologized era to be gained by comparing how he and Poitier navigated the changes in Hollywood. It’s instructive, for example, that both were involved in attempts by groups of artists to take advantage of the waning power of the studios and assert their own independence. Poitier was a founder of First Artists, which brought together movie stars (including Paul Newman and Barbra Streisand) seeking creative control. Inspired by that example, Bogdanovich, with Coppola and William Friedkin, organized the Directors Company. Both experiments ultimately failed, which may say as much about Hollywood as the fact that they were tried in the first place.DARGIS Part of the pathos of the 1970s is that for all the great films made that decade — including by Poitier and Bogdanovich — the era laid the ground for the conglomeration, blockbuster-fication and Disney-fication of the industry. The two men traveled different roads, created tremendous work, won the industry’s highest honors and made a lot of money for a lot of people. But by the end of the 1970s, each one’s glory years were over. They kept working, on and off, with success and not, until they were the kind of faded greats the culture is happy to forget until they’re old enough to nostalgically venerate. I’m glad that at least we can do that, and watch their movies, too. The work is all over the place but it’s also immortal. More

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      Sidney Poitier, Who Paved the Way for Black Actors in Film, Dies at 94

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      The first Black performer to win the Academy Award for best actor, for “Lilies of the Field,” he once said he felt “as if I were representing 15, 18 million people with every move I made.”Sidney Poitier, whose portrayal of resolute heroes in films like “To Sir With Love,” “In the Heat of the Night” and “Guess Who’s Coming to Dinner” established him as Hollywood’s first Black matinee idol and helped open the door for Black actors in the film industry, died on Thursday night at his home in Los Angeles. He was 94.His death was confirmed by Eugene Torchon-Newry, acting director general of the Ministry of Foreign Affairs in the Bahamas, where Mr. Poitier grew up. No cause was given.Sidney Poitier was the first Black actor to win the Academy Award for best actor, for “Lilies of the Field,” and helped open the door for Black actors in the film industry.Matt Sayles/Associated PressMr. Poitier, whose Academy Award for the 1963 film “Lilies of the Field” made him the first Black performer to win in the best-actor category, rose to prominence when the civil rights movement was beginning to make headway in the United States. His roles tended to reflect the peaceful integrationist goals of the struggle.Although often simmering with repressed anger, his characters responded to injustice with quiet determination. They met hatred with reason and forgiveness, sending a reassuring message to white audiences and exposing Mr. Poitier to attack as an Uncle Tom when the civil rights movement took a more militant turn in the late 1960s.Mr. Poitier with, from left, Katharine Houghton, Katharine Hepburn and Spencer Tracy in “Guess Who’s Coming to Dinner” (1967). He played a doctor whose race tests the liberal principles of his prospective in-laws.Columbia Pictures“It’s a choice, a clear choice,” Mr. Poitier said of his film parts in a 1967 interview. “If the fabric of the society were different, I would scream to high heaven to play villains and to deal with different images of Negro life that would be more dimensional. But I’ll be damned if I do that at this stage of the game.”At the time, Mr. Poitier was one of the highest-paid actors in Hollywood and a top box-office draw, ranked fifth among male actors in Box Office magazine’s poll of theater owners and critics; he was behind only Richard Burton, Paul Newman, Lee Marvin and John Wayne. Yet racial squeamishness would not allow Hollywood to cast him as a romantic lead, despite his good looks.“To think of the American Negro male in romantic social-sexual circumstances is difficult, you know,” he told an interviewer. “And the reasons why are legion and too many to go into.”Mr. Poitier often found himself in limiting, saintly roles that nevertheless represented an important advance on the demeaning parts offered by Hollywood in the past. In “No Way Out” (1950), his first substantial film role, he played a doctor persecuted by a racist patient, and in “Cry, the Beloved Country” (1952), based on the Alan Paton novel about racism in South Africa, he appeared as a young priest. His character in “Blackboard Jungle” (1955), a troubled student at a tough New York City public school, sees the light and eventually sides with Glenn Ford, the teacher who tries to reach him. In “The Defiant Ones” (1958), a racial fable that established him as a star and earned him an Academy Award nomination for best actor, he was a prisoner on the run, handcuffed to a fellow convict (and virulent racist) played by Tony Curtis. The best-actor award came in 1964 for his performance in the low-budget “Lilies of the Field,” as an itinerant handyman helping a group of German nuns build a church in the Southwestern desert. Mr. Poitier and Lilia Skala in “Lilies of the Field” (1963), for which Mr. Poitier won an Oscar. United ArtistsIn 1967 Mr. Poitier appeared in three of Hollywood’s top-grossing films, elevating him to the peak of his popularity. “In the Heat of Night” placed him opposite Rod Steiger, as an indolent, bigoted sheriff, with whom Virgil Tibbs, the Philadelphia detective played by Mr. Poitier, must work on a murder investigation in Mississippi. (In an indelible line, the detective insists on the sheriff’s respect when he declares, “They call me Mr. Tibbs!”) In “To Sir, With Love” he was a concerned teacher in a tough London high school, and in “Guess Who’s Coming to Dinner,” a taboo-breaking film about an interracial couple, he played a doctor whose race tests the liberal principles of his prospective in-laws, played by Spencer Tracy and Katharine Hepburn. Throughout his career, a heavy weight of racial significance bore down on Mr. Poitier and the characters he played. “I felt very much as if I were representing 15, 18 million people with every move I made,” he once wrote.Mr. Poitier grew up in the Bahamas, but he was born on Feb. 20, 1927, in Miami, where his parents traveled regularly to sell their tomato crop. The youngest of nine children, he wore clothes made from flour sacks and never saw a car, looked in a mirror or tasted ice cream until his father, Reginald, moved the family from Cat Island to Nassau in 1937 after Florida banned the import of Bahamian tomatoes.When he was 12, Mr. Poitier quit school and became a water boy for a crew of pick-and-shovel laborers. He also began getting into mischief, and his parents, worried that he was becoming a juvenile delinquent, sent him to Miami when he was 14 to live with a married brother, Cyril.Mr. Poitier played a Philadelphia detective and Rod Steiger played a bigoted Mississippi sheriff in “In the Heat of Night,” one of three hit films in which Mr. Poitier appeared in 1967.Mirisch/United Artists, The Kobal CollectionMr. Poitier had known nothing of segregation growing up on Cat Island, so the rules governing American Black people in the South came as a shock. “It was all over the place like barbed wire,” he later said of American racism. “And I kept running into it and lacerating myself.”In less than a year he fled Miami for New York, arriving with $3 and change in his pocket. He took jobs washing dishes and working as a ditch digger, waterfront laborer and delivery man in the garment district. Life was grim. During a race riot in Harlem, he was shot in the leg. He saved his nickels so that on cold nights he could sleep in pay toilets.In late 1943 Mr. Poitier lied about his age and enlisted in the Army, becoming an orderly with the 1267th Medical Detachment at a veterans hospital on Long Island. Feigning a mental disorder, he obtained a discharge in 1945 and returned to New York, where he read in The Amsterdam News that the American Negro Theater was looking for actors.His first audition was a flop. With only a few years of schooling, he read haltingly, in a heavy West Indian accent. Frederick O’Neal, a founder of the theater, showed him the door and advised him to get a job as a dishwasher.Undeterred, Mr. Poitier bought a radio and practiced speaking English as he heard it from a variety of staff announcers. A kindly fellow worker at the restaurant where he washed dishes helped him with his reading. Mr. Poitier finally won a place in the theater’s acting school, but only after he volunteered to work as a janitor without pay.His lucky break came when another actor at the theater, Harry Belafonte, did not show up for a rehearsal attended by a Broadway producer. Mr. Poitier took the stage instead and was given a part in an all-Black production of “Lysistrata” in 1946. Although panned by the critics, it led to a job with the road production of “Anna Lucasta.”“No Way Out” was followed by a sprinkling of film and television roles, but Mr. Poitier still bounced between acting jobs and menial work.In 1951 he married Juanita Marie Hardy, a dancer and model, whom he divorced in 1965. They had four daughters, Beverly, Pamela, Sherri and Gina. In 1976 he married Joanna Shimkus, his co-star in “The Lost Man” (1969), a film about a gang of Black militants plotting to rob a factory. They had two daughters, Anika and Sydney.Ms. Shimkus survives him. His daughter Gina Patrice Poitier Gouraige died in 2018. Complete information about his survivors was not immediately available. Mr. Poitier with Tony Curtis in “The Defiant Ones” (1958), which established him as a star and earned him an Academy Award nomination for best actor.United ArtistsAfter breakout movies like “Blackboard Jungle” and “The Defiant Ones,” Mr. Poitier’s fate was tied to Hollywood, his purpose to expand the boundaries of racial tolerance. “The explanation for my career was that I was instrumental for those few filmmakers who had a social conscience,” he later wrote.In “The Defiant Ones” and “In the Heat of the Night,” racial politics coincided with meaty roles. Just as often, however, Mr. Poitier found himself playing virtuous messengers of racial harmony in mawkish films like “A Patch of Blue” (1965) or taking race-neutral roles in less than memorable films, like a newspaper reporter in the Cold War naval drama “The Bedford Incident” (1965), Simon of Cyrene in “The Greatest Story Ever Told” (1965) or the former cavalry sergeant in “Duel at Diablo” (1966). “The Defiant Ones” remained one of Mr. Poitier’s favorite films, but to get the part he had to cross swords with Samuel Goldwyn, who was assembling a cast for “Porgy and Bess.” After Mr. Belafonte turned down the role of Porgy as demeaning, Mr. Goldwyn set his sights on Mr. Poitier, who also regarded the musical as an insult to Black people. As Mr. Poitier told it in his lively, unusually frank first memoir, “This Life” (1980), Mr. Goldwyn pulled strings to ensure that unless Mr. Poitier played Porgy, the director Stanley Kramer would not hire him for “The Defiant Ones.”Mr. Poitier, seething, bowed to the inevitable. “I didn’t enjoy doing it, and I have not yet completely forgiven myself,” he told The New York Times in 1967.The critics who would later accuse him of bowing and scraping before the white establishment seemed to dismiss Mr. Poitier’s longstanding, outspoken advocacy for racial justice and the civil rights movement, most visibly as part of a Hollywood contingent that took part in the 1963 March on Washington. Early in his career, his association with left-wing causes and his friendship with the radical singer and actor Paul Robeson made him a politically risky proposition for film and television producers.His style, however, remained low-key and nonconfrontational. “As for my part in all this,” he wrote, “all I can say is that there’s a place for people who are angry and defiant, and sometimes they serve a purpose, but that’s never been my role.”Mr. Poitier with Claudia McNeil in the 1959 Broadway production of “A Raisin in the Sun.” Reviewing his performance, Brooks Atkinson of The Times wrote, “Mr. Poitier is a remarkable actor with enormous power that is always under control.”Leo FriedmanIn 1959 Mr. Poitier made a triumphant return to Broadway in Lorraine Hansberry’s “A Raisin in the Sun,” winning ecstatic reviews. “Mr. Poitier is a remarkable actor with enormous power that is always under control,” Brooks Atkinson wrote in The New York Times. “Cast as the restless son, he vividly communicates the tumult of a high-strung young man. He is as eloquent when he has nothing to say as when he has a pungent line to speak. He can convey devious processes of thought as graphically as he can clown and dance.” Mr. Poitier repeated the role in the 1961 film version of the play.With the rise of Black filmmakers like Gordon Parks and Melvin Van Peebles in the late 1960s and early ’70s, Mr. Poitier, now in his 40s, turned to directing and producing. He had proposed the idea for the romantic comedy “For Love of Ivy” (1968), in which he starred with Abbey Lincoln. After joining with Paul Newman and Barbra Streisand in 1969 to form a production company called First Artists, he directed the western “Buck and the Preacher” (1972), in which he acted opposite Mr. Belafonte, and a series of comedies, notably “Uptown Saturday Night” (1974) and “Let’s Do It Again” (1975), in which Mr. Poitier and Bill Cosby teamed up to play a pair of scheming ne’er-do-wells, and “Stir Crazy” (1980), with Richard Pryor and Gene Wilder.The critics thought little of Mr. Poitier’s directing talents, but enthusiastic audiences, Black and white, made all three films box-office hits. Neither audiences nor critics found much to like in subsequent directorial efforts, like the comedy “Hanky Panky” (1982), with Mr. Wilder and Gilda Radner, or “Ghost Dad” (1990), with Mr. Cosby as a dead father who refuses to leave his three children alone.President Barack Obama presented Mr. Poitier with the Presidential Medal of Freedom in 2009.Jewel Samad/Agence France-Presse — Getty ImagesIn his later years, Mr. Poitier turned in solid performances in forgettable action films and thrillers like “Shoot to Kill” (1988), “Little Nikita” (1988) and “Sneakers” (1992). It was television that provided him with two of his grandest roles.In 1991 he appeared in the lead role in the ABC drama “Separate but Equal,” a dramatization of the life of Supreme Court Justice Thurgood Marshall. In 1997 he delivered a widely praised performance as Nelson Mandela in “Mandela and de Klerk,” a television movie focusing on the final years of Mr. Mandela’s imprisonment by the white-minority government in South Africa, with Michael Caine in the role of President F.W. de Klerk.“Sidney Poitier and Nelson Mandela merge with astonishing ease, like a double-exposure photograph in which one image is laid over the other with perfect symmetry,” Caryn James wrote in a review in The New York Times.In 2002, Mr. Poitier was given an honorary Oscar for his career’s work in motion picture. (At that same Oscar ceremony, Denzel Washington became the first Black actor since Mr. Poitier to win the best-actor award, for “Training Day.”) He received a Kennedy Center Honor in 1995. And in 2009, President Barack Obama, citing his “relentless devotion to breaking down barriers,” awarded him the Presidential Medal of Freedom.Mr. Poitier was knighted by Queen Elizabeth II in 1974.Mr. Poitier’s memoir “This Life” was followed by a second, “The Measure of a Man,” in 2000. Subtitled “A Spiritual Autobiography,” it included Mr. Poitier’s thoughts on life, love, acting and racial politics. It generated a sequel, “Life Beyond Measure: Letters to My Great-Granddaughter” (2008).Despite his role in changing American perceptions of race and opening the door to a new generation of Black actors, Mr. Poitier remained modest about his career. “History will pinpoint me as merely a minor element in an ongoing major event, a small if necessary energy,” he wrote. “But I am nonetheless gratified at having been chosen.” Neil Vigdor contributed reporting. More

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      Watch Sidney Poitier’s 1964 Oscar Speech for His Historic Best Actor Win

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      Sidney Poitier made history in 1964 as the first Black performer to win an Oscar in the best-actor category, for Ralph Nelson’s comedy-drama “Lilies of the Field,” in which Mr. Poitier played Homer Smith, an itinerant worker who helps a group of nuns build a chapel in rural Arizona.“Because it is a long journey to this moment, I am naturally indebted to countless numbers of people,” he said in his acceptance speech, in which he thanked the creative team behind the film, his agent, and the members of the Academy. “For all of them, all I can say is a very special thank you.”Anne Bancroft, who had won the best actress Oscar in 1963 for her role as Anne Sullivan in “The Miracle Worker,” presented Mr. Poitier with the award. He was competing against Albert Finney (“Tom Jones”), Richard Harris (“This Sporting Life”), Rex Harrison (“Cleopatra”) and Paul Newman (“Hud”).When Mr. Poitier accepted an honorary Academy Award in 2002, he took a similar tack, thanking the “handful of visionary American filmmakers, directors, writers and producers” he said made his career possible by going against the odds.“Without them, this most memorable moment would not have come to pass and the many excellent young actors who have followed in admirable fashion might not have come as they have to enrich the tradition of American filmmaking as they have,” Mr. Poitier said. More

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      11 of Sidney Poitier's Greatest Movies to Stream Now

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      As an actor and filmmaker, he strove to bring layered Black individuals to the screen at a time when that was rare.Sidney Poitier has died at age 94. A perennial Oscar nominee in the 1960s, Poitier became a movie star at a time when Hollywood tended to relegate Black actors to roles as servants, appearing for just a scene or two, often as comic relief. But he was rarely a supporting player, even at the start of his career. He took leads, specializing in a specific type: the educated, well-mannered, middle-class professional who had assimilated into the parts of white society willing to accept him.Throughout his first two decades in show business, Poitier’s films often promoted powerful messages about the ignorance of bigotry. His charisma and grace made him popular with white and Black audiences alike, and played no small part in easing some of the racial tensions in America — just by giving controversial issues an amiable advocate.These 11 Poitier movies span the ’50s to the ’90s, when he semiretired. They offer a good overview of not just the scope of his career, but of how the country changed during his 50-plus years in show business.1950‘No Way Out’After a relatively short stint as a New York stage actor, Poitier made an auspicious big-screen debut in 1950 with the writer-director Joseph L. Mankiewicz’s unusual hybrid of social drama and film noir. As a doctor struggling against the ingrained racism of his patients — including a career criminal played by Richard Widmark — Poitier allowed audiences to see what even accomplished Black Americans were facing every day, and how that kind of abuse could rattle a person’s psyche.Stream it on The Criterion Channel; rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.1957‘Edge of the City’In Poitier’s best 1950s film, he plays a longshoreman who becomes fast friends with a co-worker (played by John Cassavetes) who’s secretly AWOL from the military. Though one’s an upstanding citizen and the other’s a deserter, they are treated differently by their cruel boss (Jack Warden), who doesn’t like seeing any of his people getting chummy — especially not when one’s white and one’s Black. Less preachy than many of Poitier’s pictures from this era, “Edge of the City” has a bracing naturalism, born of its roots in the adventurous, progressive New York theater and television scenes.Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.1961‘A Raisin in the Sun’In a sublime bit of cultural kismet, the playwright Lorraine Hansberry’s masterpiece arrived when Poitier was the right age to tackle one of theater’s great characters: the pragmatic, prickly Walter Younger. Unlike the softer-edged, friendlier men Poitier had been portraying up to then, Walter doesn’t have much faith in the great dream of integration. He argues with his more idealistic family members about whether they should use a financial windfall to move into a white neighborhood, and his cynicism brings to light arguments that were being had by Black families everywhere in the ’50s and ’60s — except on the big screen.Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.Poitier opposite Ruby Dee, a frequent co-star, in “A Raisin in the Sun.”Columbia Pictures/Alamy1965‘A Patch of Blue’Poitier won a best actor Oscar for “Lilies of the Field” (1963), which would become the first of a short string of films (including “To Sir, With Love” from 1967 and “Guess Who’s Coming to Dinner”) in which he played handy, disarming individuals, helping white people improve their attitudes. Most of these movies are more interesting now for how they reveal the subtle racism of well-meaning left-leaning filmmakers, but “A Patch of Blue” is a refreshing exception, and the first movie to watch from this batch. As a kindly soul who helps a poor, abused blind teenager stand up for herself, Poitier is saintly but grounded. And the writer-director Guy Green’s adaptation of an Elizabeth Kata novel is unusually wise about how sometimes class matters as much as race in America.Rent or buy it on Amazon Prime, Google Play, Vudu or YouTube.1967‘In the Heat of the Night’In between his social-issue films, Poitier made plenty of genre pictures where race was a key element of the plot (as in the two-fisted 1958 adventure “The Defiant Ones,” and the 1966 western “Duel at Diablo”). The most popular of these is the best picture-winning “In the Heat of the Night,” in which the actor plays a brilliant Philadelphia homicide detective, Virgil Tibbs, who is drafted to help a small-town Mississippi police department crack a difficult case. Refusing to defer to his virulently prejudiced hosts, Tibbs carries himself as a truly free man, in ways that audiences back in 1967 found thrilling. He’d go on to play the character twice more: in “They Call Me Mister Tibbs!” (1970) and “The Organization” (1971).Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.1967‘Guess Who’s Coming to Dinner’The critical reputation of this Oscar-winning blockbuster hit has diminished in recent years. It’s been held up as an example of Hollywood’s heavy-handed social messaging — rather than as a groundbreaking interrogation of some purportedly open-minded white and Black families’ conflicted feelings about interracial marriage. Nevertheless, Poitier gave one of his most memorable performances in the film, using his charisma and wit to peck away at the underlying prejudices of the older generation, represented here primarily by characters played by the venerable movie stars Spencer Tracy and Katharine Hepburn. The points that the director-producer Stanley Kramer and the screenwriter William Rose are making may be blunt, but Poitier delivers them in electrifying fashion.Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.1972‘Buck and the Preacher’After acting in films almost nonstop throughout the ’50s and ’60s, Poitier slowed his output from the mid-70s onward, in part because he began working more behind the camera. He made his directorial debut in 1972 with this offbeat western, which arrived toward the start of the blaxploitation era, when the movie industry began to realize the commercial potential of films about self-actualized Black protagonists. Joined by Harry Belafonte and Ruby Dee, a frequent co-star, Poitier cast himself in “Buck and the Preacher” as a skilled scout having lightly comic adventures on the frontier. While attuned to 19th-century racial strife, this film is more an amiable entertainment than a hard-hitting commentary. As such, it has held up better than some of the star’s more incendiary projects.Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.Poitier as a skilled scout in “Buck and the Preacher,” which he also directed.Columbia Pictures1974‘Uptown Saturday Night’Many of the Black-themed films that filled American theaters in the ’70s were raunchy and R-rated, but Poitier had hits in that era with three PG caper comedies, which he directed and starred in alongside Bill Cosby and a host of A-list African American entertainers. The first in this loose trilogy was “Uptown Saturday Night,” with Poitier and Cosby playing buddies who go on an all-night odyssey through their neighborhood — encountering colorful characters played by the likes of Belafonte, Flip Wilson and Richard Pryor — while searching for a stolen lottery ticket.Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.1975‘The Wilby Conspiracy’One of Poitier’s first feature films was a 1951 adaptation of Alan Paton’s best seller, “Cry, the Beloved Country,” an unusually forward-thinking exposé of the horrors of South African apartheid. Poitier returned to that theme 24 years later with “The Wilby Conspiracy,” a chase thriller in which he plays a revolutionary on the run from the authorities with a sympathetic white buddy (played by Michael Caine). Though essentially an action picture, the movie does a fine job of making injustice come alive. Poitier and Caine would later team up again for the 1997 TV movie “Mandela and de Klerk,” dramatizing apartheid’s last days.Stream it on Tubi; rent or buy it on Amazon Prime, Apple TV, Google Play or YouTube.1992‘Sneakers’Poitier made some baffling professional choices during the ’80s and ’90s, when he rarely acted, and directed more than his share of duds. But it’s hard to fault him for joining Robert Redford, Dan Aykroyd, David Strathairn and River Phoenix for the ensemble adventure-comedy “Sneakers.” As a former C.I.A. agent aiding a team of well-meaning super-hackers, Poitier makes good use of his iconic screen presence, representing one of the last sparks of ’60s idealism in an increasingly synthetic age.Rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube.1999‘The Simple Life of Noah Dearborn’One of Poitier’s last screen performances was in this 1999 TV movie, in which he plays an intensely private, self-sufficient, elderly Georgian whose mental competency is questioned when he refuses to sell his land. Noah Dearborn is the kind of character Poitier played throughout his career — skilled, stubborn and deeply decent — but it says something about how the culture changed during his lifetime that his race is no longer the defining element in his story. That’s a direct consequence of how Poitier spent his career defying stereotypes and fighting to bring layered Black individuals to the screen.Stream it on IMDbtv; rent or buy it on Amazon Prime, Apple TV, Google Play, Vudu or YouTube. More