Poitier joined the American Negro Theater, but was rejected by audiences. His tone deafness made him – contrary to what was expected of black actors at the time – unable to sing or dance. 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. On his second attempt at the theater, he was noticed and given a leading role in the Broadway production Lysistrata, for which he received excellent reviews. By the end of 1949, he had to choose between leading roles on stage and an offer to work for Darryl F. Zanuck in the film No Way Out (1950). His performance in No Way Out, as a doctor treating a white bigot, was noticed and led to more roles, each considerably more interesting and more prominent than those most black actors of the time were offered.
Poitier’s breakout role was as a member of an incorrigible high school class in Blackboard Jungle (1955). At age twenty-seven… read more
Poitier joined the American Negro Theater, but was rejected by audiences. His tone deafness made him – contrary to what was expected of black actors at the time – unable to sing or dance. 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. On his second attempt at the theater, he was noticed and given a leading role in the Broadway production Lysistrata, for which he received excellent reviews. By the end of 1949, he had to choose between leading roles on stage and an offer to work for Darryl F. Zanuck in the film No Way Out (1950). His performance in No Way Out, as a doctor treating a white bigot, was noticed and led to more roles, each considerably more interesting and more prominent than those most black actors of the time were offered.
Poitier’s breakout role was as a member of an incorrigible high school class in Blackboard Jungle (1955). At age twenty-seven though, like most of the actors in the film, he was not a teenager.
Poitier was the first male black actor to be nominated for a competitive Academy Award (for The Defiant Ones, 1958). Tony Curtis is on record as saying he had approval of Poitier as his co-star. He also said the director’s first choice for his role was Robert Mitchum, but Mitchum refused to work with a black man. Curtis made these comments on the 1999 program Private Screenings with Turner Classic Movies host Robert Osborne.
He was also the first black actor to win the Academy Award for Best Actor (for Lilies of the Field in 1963). (James Baskett was the first to receive an Oscar, an Honorary Academy Award for his performance as Uncle Remus in the Walt Disney production of Song of the South in 1948, while Hattie McDaniel predated them both, winning as Best Supporting Actress for her role in 1939’s Gone with the Wind).
He acted in the first production of A Raisin in the Sun on Broadway in 1959, and later starred in the film version released in 1961. He also gave memorable performances in The Bedford Incident (1965), and A Patch of Blue (1965) co-starring Elizabeth Hartman and Shelley Winters. In 1967, he was the most successful draw at the box office, the commercial peak of his career, with three successful films, Guess Who’s Coming to Dinner; To Sir, with Love and In the Heat of the Night. The last film 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) and The Organization (1971).
However, Poitier began to be criticized for typecasting himself as playing overidealized black characters who were not permitted to have any sexuality or personality faults, such as his character in Guess Who’s Coming To Dinner. Poitier was aware of this pattern himself, but was conflicted on the matter; he wanted more varied roles, but also felt obliged to set a good example with his characters to defy previous stereotypes as he was the only major black actor in the American film industry at the time. For instance, Poitier, along with his producers, was able to make Virgil Tibbs a dignified and astute detective who is capable of making errors in judgment. —wikipedia
