Love your closing in this piece. In 67, I was a 13 year-old Irish-American kid growing up in an Irish/Irish American hood common in Boston back then. I have to say I saw lots of racism and "phobias" in those days, but I"m an underdog guy, and racism didn't make sense to me but I had to keep that to myself to hang on my corner. I do remember that "In the Heat of the Night blew me away in similar and different ways to what I felt when I saw To Kill a Mockingbird. That scene you referred to slap-for-slap, made me cheer inside quietly as I was with my boyos. Also saw to Sir with Love back then, and I had to stifle tears, because you guessed it was with my boyos and had to openly be a tough guy. In each of the 1967 movies he had to a perfect guy, but at least in Heat, in the face of the serious overt southern racism of the time, he gave as good as he got. Tx for the tribute.
A fine elegy, I remember you always excelled at these, and this one is no exception.
Robeson imo belies Poitier as first black leading man, was so great in September that TCM had Robeson as Star of the Month and showed all (only six, alas) of his features, and those in which he starred were made in England, so maybe that’s why people don’t count them. But they’re thrilling, seeing in that era of minimal and reductive representation this towering talent not bound by the suffocating constraints of Hollywood and the culture at large. Everyone stands on Poitier’s shoulders, but Poitier (and Brock Peters and Ivan Dixon and Ossie Davis, to name a few others) stand on Robeson’s not just as actor but as activist and conscience.
Two movies not mentioned in any of the post-mortems, understandably bc they’re not among his best known: A Patch of Blue, where Poitier is a professional, a compassionate man who takes risks to help a young blind woman in danger and distress; and Brother John. I’ve only watched Brother John once, and it’s an odd little movie, but it feels like a not-so-covert proxy for Poitier’s exhaustion with carrying that huge load of cultural significance, of being a signifier instead of getting to just be Sidney.
Also, Cecily Tyson didn’t carry Poitier’s cultural weight but seems his opposite number in that time. She also chose her roles with great intention and refused to play demeaning ones.
Ty, I didn't see a way to contact you behind the scenes. Reread your subtitle. There's a definitive article missing. Then erase this post. Best, Charlie O.
Wonderful send-up of a ground-breaking actor. May he rest, finally, in peace. I never saw Guess Who's Coming To Dinner, but I did see In The Heat Of The Night and To Sir With Love. Really good films. Thank you for your article!
Thank you for posting this and providing a selection of his movies. We already watched “No Way Out” this weekend. I hasn’t heard of it before and we enjoyed it—even if movies during that period are tough to watch.
Love your closing in this piece. In 67, I was a 13 year-old Irish-American kid growing up in an Irish/Irish American hood common in Boston back then. I have to say I saw lots of racism and "phobias" in those days, but I"m an underdog guy, and racism didn't make sense to me but I had to keep that to myself to hang on my corner. I do remember that "In the Heat of the Night blew me away in similar and different ways to what I felt when I saw To Kill a Mockingbird. That scene you referred to slap-for-slap, made me cheer inside quietly as I was with my boyos. Also saw to Sir with Love back then, and I had to stifle tears, because you guessed it was with my boyos and had to openly be a tough guy. In each of the 1967 movies he had to a perfect guy, but at least in Heat, in the face of the serious overt southern racism of the time, he gave as good as he got. Tx for the tribute.
He was such a powerful presence in everything I ever saw him in. Just say his name, and I can hear his voice in my head.
A fine elegy, I remember you always excelled at these, and this one is no exception.
Robeson imo belies Poitier as first black leading man, was so great in September that TCM had Robeson as Star of the Month and showed all (only six, alas) of his features, and those in which he starred were made in England, so maybe that’s why people don’t count them. But they’re thrilling, seeing in that era of minimal and reductive representation this towering talent not bound by the suffocating constraints of Hollywood and the culture at large. Everyone stands on Poitier’s shoulders, but Poitier (and Brock Peters and Ivan Dixon and Ossie Davis, to name a few others) stand on Robeson’s not just as actor but as activist and conscience.
Two movies not mentioned in any of the post-mortems, understandably bc they’re not among his best known: A Patch of Blue, where Poitier is a professional, a compassionate man who takes risks to help a young blind woman in danger and distress; and Brother John. I’ve only watched Brother John once, and it’s an odd little movie, but it feels like a not-so-covert proxy for Poitier’s exhaustion with carrying that huge load of cultural significance, of being a signifier instead of getting to just be Sidney.
Also, Cecily Tyson didn’t carry Poitier’s cultural weight but seems his opposite number in that time. She also chose her roles with great intention and refused to play demeaning ones.
Ty, I didn't see a way to contact you behind the scenes. Reread your subtitle. There's a definitive article missing. Then erase this post. Best, Charlie O.
Another great entry by our treasure of a film critic. Ty Burr. Thank you Mr. burr!
Wonderful send-up of a ground-breaking actor. May he rest, finally, in peace. I never saw Guess Who's Coming To Dinner, but I did see In The Heat Of The Night and To Sir With Love. Really good films. Thank you for your article!
Beautiful commentary Ty! Thanks for writing! J
Thank you for posting this and providing a selection of his movies. We already watched “No Way Out” this weekend. I hasn’t heard of it before and we enjoyed it—even if movies during that period are tough to watch.
Oh, great writing, Ty