Sidney Poitier was born on February 20, 1927, in Miami, Florida.[17] He was the youngest of seven children[18] born to Evelyn (née Outten) and Reginald James Poitier,Afro-Bahamian farmers who owned a farm onCat Island.[19] The family would travel to Miami to sell tomatoes and other produce to wholesalers. His father also worked as a cab driver inNassau.[20] Poitier was born unexpectedly in Miami while his parents were there on business; his birth wastwo months premature, and he was not expected to survive, but his parents remained in Miami for three months to nurse him to health.[21] Poitier grew up in the Bahamas, then aBritish Crown colony. His birth in the United Statesentitled him to US citizenship.[21]
Although there were few Poitiers of French ancestry in the Bahamas,[22] some believe that the Poitier ancestors had migrated fromHaiti,[23] and were probably among the runaway slaves who establishedmaroon communities throughout the Bahamas, including Cat Island.
Poitier lived with his family on Cat Island until he was ten, when they moved to Nassau. There he was exposed to the modern world, where he saw his first automobile and first experienced electricity, plumbing, refrigeration, and motion pictures.[24][25] He was raisedCatholic[26] but later became an agnostic[27] with views closer todeism.[28]
At age fifteen, in 1942, he was sent to Miami to live with his brother's large family, but Poitier found it impossible to adjust to the racism inJim Crow era Florida.[29] At sixteen, he moved to New York City, looking to become an actor, holding a string of jobs as a dishwasher in the meantime.[30] After failing his first audition with theAmerican Negro Theatre due to his inability to fluently read the script, an elderly Jewish waiter sat with him every night for several months, helping him to improve his reading by using the newspaper.[31][32] DuringWorld War II, in November 1943, he lied about his age (he was only 16 at the time) and enlisted in theArmy. He was assigned to aVeterans' Administration hospital inNorthport, New York, and was trained to work with psychiatric patients. Poitier became upset with how the hospital treated its patients and feigned mental illness to obtain a discharge. Poitier confessed to a psychiatrist that he was faking his condition, but the doctor was sympathetic and granted his discharge underSection VIII of Army regulation 615–360 in December 1944.[33]
After leaving the Army, he worked as a dishwasher until a successful audition landed him a role in an American Negro Theatre production, the same company he failed his first audition with.[34][35][32]
Poitier joined the American Negro Theater but was rejected by audiences. Contrary to what was expected of negro actors at the time, Poitier'stone deafness made him unable to sing.[36] Determined to refine his acting skills and rid himself of his noticeable Bahamian accent, he spent the next six months dedicating himself to achieving theatrical success. He modeled his legendary speech pattern after radio personalityNorman Brokenshire. On his second attempt at the theater, he was noticed and given a leading role in theBroadway production ofLysistrata, through which, though it ran a failing four days, he received an invitation to understudy forAnna Lucasta. Poitier would later befriendHarry Belafonte at the American Negro Theater.[37][38]
In 1947, Poitier was a founding member of the Committee for the Negro in the Arts (CNA),[39] an organization whose participants were committed to a left-wing analysis of class and racial exploitation.[40] Among his other CNA-related activities, in the early 1950s he was a Vice Chair of the organization.[41] In 1952, he was one of several narrators in a pageant written byAlice Childress andLorraine Hansberry for the Negro History Festival put on by the leftist Harlem monthly newspaperFreedom.[42]
His participation in such events and CNA generally, along with his friendships with other leftist Black performers, includingCanada Lee andPaul Robeson, led to his subsequentblacklisting for a few years.[43] Even associating with Poitier added to the basis for blacklisting Alfred Palca, the writer and producer of one of Poitier's earliest films, the 1954Go Man Go.[44] Poitier never did sign aloyalty oath, despite being asked in connection with his prospective role inBlackboard Jungle (1955).[45]
By late 1949, Poitier had to choose between leading roles on stage and an offer to work forDarryl F. Zanuck in the filmNo Way Out (1950).[46] His performance withRuby Dee andMaude Simmons inNo Way Out, as a doctor treating a white bigot (played byRichard Widmark, who became a friend), was noticed and led to more roles, each considerably more interesting and more prominent than those most African-American actors of the time were offered.[47] In 1951, he traveled to South Africa with the African-American actor Canada Lee to star in the film version ofCry, the Beloved Country.[48] Poitier's distinction continued in his role as Gregory W. Miller, a member of an incorrigible high-school class inBlackboard Jungle (1955).[49] But it was his performance inMartin Ritt's 1957 filmEdge of the City that the industry could not ignore.
Poitier enjoyed working for directorWilliam Wellman onGood-bye, My Lady (1956).[50] Wellman was a big name, who had previously directed the famousRoxie Hart (1942) withGinger Rogers andMagic Town (1947) withJames Stewart.[50] What Poitier remembered indelibly was the wonderful humanity in this talented director. Wellman had a sensitivity that Poitier thought was profound, which Wellman felt he needed to hide."[50] Poitier later praised Wellman for inspiring his thoughtful approach to directing when he found himself taking the helm from Joseph Sargent onBuck and the Preacher in 1971.[50][51]
In 1958 he starred alongsideTony Curtis in directorStanley Kramer'sThe Defiant Ones.[52] The film was a critical and commercial success with the performances of both Poitier and Curtis being praised.[53][54] The film landed eight Academy Award nominations including Best Picture and Best Actor nominations for both stars, making Poitier the first African-American actor to be nominated in a lead role.[55] Poitier did win theBritish Academy Film Award for Best Foreign Actor.[56]
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. Not when there is only one Negro actor working in films with any degree of consistency . . .
In 1961, Poitier starred in the film adaptation ofA Raisin in the Sun for which he received another Golden Globe Award nomination.[61] Also in 1961, Poitier starred inParis Blues alongsidePaul Newman,Joanne Woodward,Louis Armstrong, andDiahann Carroll.[62] The film dealt with theAmerican racism of the time by contrasting it with Paris's open acceptance ofBlack people.[62] In 1963 he starred inLilies of the Field.[63] For this role, he won theAcademy Award for Best Actor and became the first African-American to win the award in a leading role.[64] His satisfaction at this honor was undermined by his concerns that this award was more of the industry congratulating itself for having him as a token and it would inhibit him from asking for more substantive considerations afterward.[65] Poitier worked relatively little over the following year; he remained the only major actor of African descent and the roles offered were predominantly typecast as a soft-spoken appeaser.[66]
In 1967, he was the most successful draw at the box office, the commercial peak of his career, with three popular films,To Sir, with Love, andIn the Heat of the Night, andGuess Who's Coming to Dinner.[71] Although these three films seemingly shared little similarity, they all, albeit not overtly, dealt with the black and white divide.[72] InTo Sir, with Love, Poitier plays a teacher at a secondary school in theEast End of London. The film deals with social and racial issues in the inner city school. The film was met with mixed response; however, Poitier was praised for his performance, with the critic fromTime writing, "Even the weak moments are saved by Poitier, who invests his role with a subtle warmth."[73]
InNorman Jewison's mystery dramaIn the Heat of the Night, Poitier playedVirgil Tibbs, a police detective fromPhiladelphia who investigates a murder in theDeep South in Mississippi alongside a cop with racial prejudices played byRod Steiger. The film was a critical success withBosley Crowther ofThe New York Times calling it "the most powerful film I have seen in a long time."[74]Roger Ebert placed it at number ten on his top ten list of 1967 films.[75][76] Art Murphy ofVariety felt that the excellent Poitier and outstanding Steiger performances overcame noteworthy flaws, including an uneven script.[77] Poitier received a Golden Globe Award andBritish Academy Film Award nomination for his performance.[56]
In Stanley Kramer's social dramaGuess Who's Coming to Dinner, Poitier played a man in a relationship with a White woman played byKatharine Houghton. The film revolves around her bringing him to meet with her parents played byKatharine Hepburn andSpencer Tracy. The film was one of the rare films at the time to depict an interracial romance in a positive light, asinterracial marriage historically had been illegal in most states of the United States. It was still illegal in 17 states—mostly Southern states—until June 12, 1967, six months before the film was released. The film was a critical and financial success. In his film review, Roger Ebert described Poitier's character as "a noble, rich, intelligent, handsome, ethical medical expert" and that the film "is a magnificent piece of entertainment. It will make you laugh and may even make you cry."[78] To win his role as Dr. Prentice in the film, Poitier had to audition for Tracy and Hepburn at two separate dinner parties.[79]
Poitier began to be criticized for being typecast as over-idealized African-American characters who were not permitted to have any sexuality or personality faults, such as his character inGuess Who's Coming to Dinner. Poitier was aware of this pattern himself but was conflicted on the matter. He wanted more varied roles; but he also felt obliged to set an example with his characters, by challenging old stereotypes, as he was the only major actor of African descent being cast in leading roles in the American film industry at the time. For instance, in 1966, he turned down an opportunity to play the lead in an NBC television production ofOthello with that spirit in mind.[80] Despite this, many of the films in which Poitier starred during the 1960s would later be cited associal thrillers by both filmmakers and critics.[81][82][83][84] Such films includedFor Love of Ivy in which he modifies the over-idealized African American as Jack Parks, a trucking company executive, who also operates an illegal casino.
In the Heat of the Night featured his most successful character, Virgil Tibbs, a Philadelphia, Pennsylvania, detective whose subsequent career was the subject of two sequels:They Call Me Mister Tibbs! (1970) andThe Organization (1971).[85]
In 1972, he made his feature film directorial debut, theWesternBuck and the Preacher, in which Poitier also starred, alongsideHarry Belafonte and Ruby Dee.[86] Poitier replaced the original director,Joseph Sargent.[87] The following year he directed his second feature, the romantic dramaA Warm December.[88] Poitier also starred in the film alongsideEsther Anderson.
In 2002, Poitier received the 2001Honorary Academy Award for his overall contribution to American cinema.[96] Later in the ceremony,Denzel Washington won the award for Best Actor for his performance inTraining Day, becoming the second Black actor to win the award.[100] In his victory speech, Washington saluted Poitier by saying "I'll always be chasing you, Sidney. I'll always be following in your footsteps. There's nothing I would rather do, sir."[101]
With the death ofErnest Borgnine in 2012, Poitier became the oldest living recipient of the Academy Award for Best Actor.[102] On March 2, 2014, Poitier appeared withAngelina Jolie at the86th Academy Awards to present theBest Director Award.[103] He was given a standing ovation and Jolie thanked him for all his Hollywood contributions, stating: "We are in your debt."[103] Poitier gave a brief speech, telling his peers to "keep up the wonderful work" to warm applause.[104] In 2021, the academy dedicated the lobby of the newAcademy Museum of Motion Pictures in Los Angeles as the "Sidney Poitier Grand Lobby" in his honor.[105] Poitier was a lifelong activist for racial and social justice. He declined film roles he considered based on offensive racial stereotypes.[16]
From 1995 to 2003, Poitier was a member of the board of directors ofthe Walt Disney Company.[106] In April 1997, Poitier was appointed ambassador from the Bahamas to Japan, a position he held until 2007.[16][107] From 2002 to 2007, he was concurrently the ambassador of the Bahamas toUNESCO.[108]
Poitier was first married to Juanita Hardy from April 29, 1950, until 1965. Though Poitier became a resident ofMount Vernon inWestchester County, New York, in 1956,[109] they raised their family inStuyvesant, New York, in a house on theHudson River.[110] In 1959, Poitier began a nine-year affair with actress Diahann Carroll.[111] On January 23, 1976, he marriedJoanna Shimkus, a Canadian actress who starred with Poitier inThe Lost Man in 1969, and they remained married until his death. Poitier had four daughters with his first wife: Beverly,[112][113] Pamela,[114] Sherri,[115] and Gina.[116] He had two daughters with his second wife: Anika[117] andSydney Tamiia.[118] Poitier had eight grandchildren and three great-grandchildren.[119] WhenHurricane Dorian hit the Bahamas in September 2019, Poitier's family had 23 missing relatives.[120]
Upon Poitier's death, many people released statements honoring him, including then-PresidentJoe Biden, who wrote in part: "With unflinching grandeur and poise – his singular warmth, depth, and stature on-screen – Sidney helped open the hearts of millions and changed the way America saw itself." Former presidentBarack Obama paid tribute to Poitier, calling him "a singular talent who epitomized dignity and grace".Michelle Obama,Bill Clinton andHillary Clinton also released statements.[124]
Poitier was described as an icon in his obituary byUSA Today.[142] Laura Jacobs forVanity Fair hailed Poitier as the "Martin Luther King Jr. of the movies".[143] Several film historians and journalists have called him Hollywood's first African-American film star.[143][144][145]The New York Times noted after his death that Poitier was instrumental for the diversity of Hollywood and "paved the way for Black actors in film".[144]The Hollywood Reporter wrote that "Poitier was the first actor to star in mainstream Hollywood movies that depicted a Black man in a non-stereotypical fashion, and his influence, especially during the 1950s and '60s as role model and image-maker, was immeasurable".[146]
While presenting Poitier the Honorary Academy Award in 2002, Denzel Washington said of Poitier: "Before Sidney, African American actors had to take supporting roles in major studio films that were easy to cut out in certain parts of the country. But you couldn't cut Sidney Poitier out of a Sidney Poitier picture".[142] He was an influential African-American actor and highly viewed as such as he became the first Black male actor to be nominated (1958) for an Academy Award (following the nominations of actresses Hattie McDaniel in 1940 and Dorothy Dandridge in 1954) and the first Black male actor to win the award.[142][128] He was also described as the "sole representative" of African-Americans in mainstream cinema during the 1950s and 1960s, especially during the height of theAmerican Civil Rights movement.[147][144]The New York Times wrote that Poitier was "an ambassador to white America and a benign emblem ofBlack power".[148]
For his role in diversifying Hollywood and for his role in paving the way for further Black actors, he was described as one of "the most important figures of 20th century Hollywood".[149] The former US president Barack Obama said Poitier had "[advanced] the nation's dialogue on race and respect" and "opened doors for a generation of actors".[150]Sidney, a documentary film about Poitier's life and legacy byReginald Hudlin, was released on September 23, 2022.[151]
^Poitier, Sidney (1980).This Life. US, Canada: Knopf (US), Random House (Canada). pp. 2, 5.At this point [his father, Reginald Poitier] still had four boys and two girls (quite a few to make it through)... (2); When Reginald and Evelyn Poitier returned to Cat Island from Miami, carrying me—the new baby they now called 'Sidney'—they were greeted by their six children... my older brother Cyril, fifteen; Ruby, thirteen; Verdon (Teddy) [female], eleven; Reginald, eight; Carl, five; and Cedric, three. (5)
^Goudsouzian, Aram (April 25, 2004)."Sidney Poitier".The New York Times.ISSN0362-4331.Archived from the original on January 10, 2022. RetrievedJanuary 10, 2022.
^Poitier, Sidney (2009).Life Beyond Measure: Letters to My Great-Granddaughter. HarperCollins. p. 84.ISBN978-0-06-149620-2.The question of God, the existence or nonexistence, is a perennial question, because we don't know. Is the universe the result of God, or was the universe always there?
^Poitier, Sidney (2009).Life Beyond Measure. HarperCollins. pp. 85–86.ISBN978-0-06-173725-1.I don't see a God who is concerned with the daily operation of the universe. In fact, the universe may be no more than a grain of sand compared with all the other universes.... It is not a God for one culture, or one religion, or one planet.
^Washington, Mary (2014).The other blacklist : the African American literary and cultural left of the 1950s. New York New York: Columbia University Press.ISBN978-0231526470.OCLC1088439510.
^abcdPowers, Philip (2020).Sidney Poitier Black and White: Sidney Poitier's Emergence in the 1960s as a Black Icon (First ed.). Sydney: 1M1 Digital. p. 102.ISBN979-8-56-763871-2.
^Powers, Philip (December 31, 2020).Sidney Poitier Black and White: Sidney Poitier's Emergence in the 1960s as a Black Icon. 1M1 Digital Pty Ltd. p. 77.ASINB08RCJDV8D.
^"Cinema: Class War".Time. June 30, 1967.Archived from the original on January 7, 2022. RetrievedJanuary 7, 2022.
^"'Heat of Night' Scores With Crix; Quick B.O. Pace".Variety. August 9, 1967. p. 3.
^Thompson, Bennie G. (March 10, 2004). "Etension of Remarks: A Tribute to Ms. Beulah "Beah" Richards".Congressional Record.150 (3). Government Printing Office: 2872.
^O'Neil, Tom (New York, 2003), "Movie Awards: The Ultimate, Unofficial Guide to the Oscars. Golden Globes, Critics, Guild and Indi Honors", Berkley Publishing Group, p. 761.
