Reading Sidney Poitier's terrific thorough obituary in the New York Times moments ago,
I learned a lot about his life, his choices, and the many challenges he overcame.
It gave me a much fuller appreciation for who he truly was.
His life was an amazing story of achievement, despite the many obstacles.
At one point, he lived in NY sleeping at night using coins to enter pay toilets.
If you would like to learn more about him, I included the beginning of the obituary and a link to the rest of it below.
In response to:
Sidney Poitier, Who Paved the Way for Black Actors in Film, Dies at 94
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.”
By William Grimes
Jan. 7, 2022Updated 11:54 a.m. ET
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, has died at 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 other details were immediately provided.
Mr. 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.
“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-s*xual 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. ......
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