The Measure of a Man (22 page)

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Authors: Sidney Poitier

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BOOK: The Measure of a Man
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Then the reaction came. Not good.

Charley and I were disappointed, but we swallowed hard and digested the details. Finally, it came home to us that we had made a mistake in the selection of the source material. We were forced to admit that the material should have been taken not from
my
life but rather from life itself. We resolved to return to the drawing board with this new point of view.

Charley and I didn’t see much of each other over the next several months, a time spent mostly in note-gathering. Early one evening he dropped by to visit with my wife and me at our New York apartment and to report on his progress. An hour
later we shared a cab with him across town. My wife and I were on our way to the theater; Charley was on his way to somewhere else. At 97th Street and Columbus Avenue he got out. We said our goodbyes, and we never saw him again. The cancer had returned. He died on June 2, 1995.

Sometimes it seems that when crushing losses are the reality, a resistant mechanism springs into action to protect the mind from instant overload, mercifully allowing for the gradual absorption of invasive and toxic information. Charley Blackwell was no more. He had slipped into what W.E.B. Du Bois once called “that long deep and endless sleep.” Needless to say, the world we knew hung heavy in the days and months that followed.

After the magnitude of the loss had hit home and family and friends were finally able to turn the corner toward healing, I drifted back to the “material in progress.” I remember thinking of it at the time more as “material in shambles,” due to Charley’s untimely departure.

As to questions that remain standing in the face of humanity’s relentless pursuit of answers, maybe Nature arranges it to her benefit that some of us set out on journeys that can have no end. Consider, for a moment, that the amount of energy spent by human beings in pursuit of something that doesn’t exist might, in very real terms, represent a sizable chunk of the energy Nature needs to make the world go ’round. Which might also explain why—even after a lifetime of struggle—most of us never find the rainbow we promised ourselves would lead us to our pot of gold.

Charley never lived to see our dream fulfilled. The same cancer that declined to take me called him back to Nature. I don’t know why he died any more than I know why I went from being a stargazer on the beaches of Cat Island to an actor in Hollywood. But I
do
know that I’m responsible not for what happens but for what I make of it. It’s up to me to take my own measure, to claim what’s real, to answer for myself.

I’m still here, and truth be told, the compulsion to create and express is still here. Our first efforts at a one-man show met with failure, and oh, how I hate to fail. My colleague has succumbed, and to an illness that I’ve shared, which is at times doubly dispiriting. But I still dream of that final moment onstage.

Surely this must be the highest-stakes game of all. And maybe the oracles are trying to tell me that this is one I can’t win. That my survival instincts aren’t going to help me this time. That I won’t be able to charm this opponent into neutral, no matter how much drive and hard work and talent I apply. But there’s still a beating heart at the center of my being, and while there’s life…

Human life is a highly imperfect system, filled with subordinate imperfections all the way down. The only thing we know for sure is that in another eight billion years it will all be over. Our sun will have spent itself; and the day it expires, you’ll hear the crunch all over this solar system, because then everything will turn to absolute zero.

But you can’t live focused on that. You can’t hang on to that. Anyway, luckily we puny individuals have only seventy-five
or eighty-two or ninety-six years to look forward to, which is still a snap in the overall impenetrableness of time. So what we do is we stay within the context of what’s practical, what’s real, what dreams can be fashioned into reality, what values can send us to bed comfortably and make us courageous enough to face our end with character.

That’s what we’re seeking. That’s what it’s all about, you know? We’re all of us a little greedy. (Some of us are
plenty
greedy.) We’re all somewhat courageous, and we’re all considerably cowardly. We’re all imperfect, and life is simply a perpetual, unending struggle against those imperfections.

Acapulco, Mexico

Acting: Academy Award, Best Actor

American Negro Theatre

black actors

black filmmakers, pioneers

blacklisting and loyalty oaths

camera and “presence,”

directing by Poitier

dramatic focus, determining

inherited talents

pantomime

Poitier’s box office success

Poitier’s craft and approach to

Poitier’s early audition

Poitier’s first ambitions

Poitier’s first film

Poitier’s first theatrical role

Poitier’s janitor job in exchange for acting class

Poitier’s love of

Poitier’s mentors and teachers

Poitier’s personal standards

Poitier’s roles and congruency with principle

preparing for roles and finding character

purity of profession and power to transfix

racial barriers broken and

racially stereotyped roles

Raisin in the Sun
and acting challenges

studio contracts

values and selfhood conveyed in

See also specific films and plays

Actors’ Equity Association

Actors Studio

All the Young Men

American Negro Theatre

Belafonte and

Poitier and

Anger

acting and

evil and rage

turned inward

Anna Lucasta

Ashe, Arthur

 

Bad Day at Black Rock

Baker, Josephine

Balance, searching for

Basie, Count

Bassett, Angela

Baum, Marty

Beavers, Louise

Belafonte, Harry

Berman, Pandro

Bethune, Mary McCloud

Bibb, Leon

Black Panthers

Blackboard Jungle

Blackwell, Charley: career of

death of

discussion with

one-man show and

Branch, William

Brando, Marlon

Brooks, Richard

Brown, H. Rap

Browne
v.
Board of Education

Bunche, Ralph

 

Carmichael, Stokely

Cassavetes, John

Cat Island

Arthur’s Town

Arthur’s Town ditch

beauty of

color issue and class on

daily life on

landowning by blacks

Poitier childhood on

Poitier claim on land

Poitier family emigration to

Poitier home on

poverty on

simplicity of life on

tomato farming on

Childress, Alice

Civil Rights Movement

Cole, Nat

Commitment

to craft of acting

cultural influence on

Cyril Poitier and

Evelyn Poitier and

Sidney Poitier’s motto

values and

Compassion

Consciousness

grand, or divine

ignorance, removal of, and

Lilies of the Field
and

Cooper, Ralph

Cosby, Bill

Cruelty, human

Cry, the Beloved Country

Curtis, Tony

 

Dark side of life/humanity

Army arrest of Poitier and

cruelty and

demons, personal

facing at Catskills resort by Poitier

sin and vice

violence turned inward

Davis, Sammy, Jr.

Davis, Ossie

Death: Acapulco brush with, and taking stock

Du Bois on

prostate cancer and introspection

Dee, Ruby

Defiant Ones, The

Dixon, Ivan

Dreams and aspirations

racism and

Du Bois, W.E.B.

 

Edge of the City

Ellington, Duke

Ellison, Ralph

Emotional intelligence

 

Faith.
See
Spirituality

Fanny

Farrah, Damite

Fetchit, Stepin

Forgiveness

Fox, William

Franklin, John Hope

Freeman, Morgan

Freud, Sigmund

Furman, Glen

 

Gaia (Mother Earth)

Gandhi, Mahatma

Garvey, Marcus

Geeson, Judy

Genocide

Gordy, Berry, Jr.

Grant, Lee

Greaves, William Garfield

Green. Guy

Guess Who’s Coming to Dinner

 

Hansberry, Lorraine

Hartman, Elizabeth

Hepburn, Katharine

Hernandez, Juano

Hope

Horne, Lena

Hughes, Langston

 

Identity, search for

acting roles and

discussion with Charley Blackwell

dual

nature and

opposites and

Imagination

In the Heat of the Night

Ingram, Rex

Inherit the Wind

Integrity

It’s a Mad Mad Mad Mad World

 

Jackson, Jesse

Jackson, Samuel L.

Jeffries, Herb

Johnson, Johnny

Judgment at Nuremberg

Jumper church

 

King, Martin Luther, Jr.

Korda, Zoltan

Kramer, Stanley

 

Language, command of

Lee, Canada

Legacies: Acapulco brush with death and taking stock

values through family

Lilies of the Field

Logan, Joshua

Luce, Clare Booth

Lulu

Lysistrata

 

Man Is Ten Feet Tall
, A

Mandela, Nelson

Mankiewicz, Joseph

Mann, Paul

Margulis, Lynn

Marshall, Thurgood

Marshall, William

Materialism

Mayfield, Julian

McDaniel, Hattie

McNeil, Claudia

McQueen, Butterfly

Merrick, David

Miami, Florida, Poitier in

police car incident

Micheaux, Oscar

Mills, George

Mirisch, Walter

Moore, Juanita

Moreland, Mantan

Morrow, Vic

Mozart, Wolfgang Amadeus

Mysteries

in Bahamas

God as ultimate

 

NAACP

Nassau, New Providence Island, Bahamas

Baron Smith and movie incident

class structure

Jumper church

Poitier childhood in

Poitier family moves to

Poitier family poverty in

racism in

Nature

Negro Actors Guild

Nelson, Ralph

New York, New York: Harlem

Sidney Poitier arrives in

theaters

Theresa Hotel

New York Times

No Way Out

 

One Hundred and Ten in the Shade

Outsider: concept of

daughter, Beverly Poitier, and

Poitier as

racism and

 

Parenting: discipline

divorce and

materialism and

Poitier and daughters

Poitier’s parents

values, clarity of and

Patch of Blue, A

Philco Playhouse

Piece of the Action, A

Pleasures, hedonism, or instant gratification

Poitier, Beverly (daughter)

Poitier, Caroline (aunt)

Poitier, Cedric (brother)

Poitier, Cyril (brother)

Poitier, David (uncle)

Poitier, Evelyn (mother): bush medicines and

character and personality

clothes-making

discipline of children

life on Cat Island

marriage of

Nassau move

parents “Pa Tim” and “Mama Gina,”

siblings Ya-Ya and Augusta

Sidney’s birth and
soothsayer’s prediction

Sidney’s departure for Florida

Sidney’s first film, sees

Sidney’s swimming lesson

stone selling

survival tactic

tomato farming

Poitier, Juanita (first wife)

Poitier, March (grandfather)

Poitier, Pam (daughter)

Poitier, Reginald James “Reggie” (father)

character and personality

death of, and inheritance

discipline of children

economic struggles of

as father and provider

life on Cat Island

marriage

Nassau move

parents

Sidney’s birth

Sidney’s departure for Florida and

Sidney’s first film, sees

Sidney’s return to Bahamas and

Sidney’s swimming lesson

tomato farming

Poitier, Sidney:

ACTING CAREER
: agent, acquiring

box office success

childhood ambitions

craft and approach to

directing

dissention with Claudia McNeil

first auditions

first film
No Way Out
, family at

first theatrical role

focus of drama

income from

janitor job at American Negro Theatre in exchange for acting class

lack of roles for

looking for work

mentors and teachers

one-man show, desire to do

Oscar for Best Actor

pantomime and

personal standards for

power of performance and

preparing for roles

Raisin in the Sun
and acting challenges

television drama,
A Man Is Ten Feet Tall

on theatrical acci
dents

troublemaker, branded as

work, importance of

see also
FILMS, PLAYS
(
below
)

CHARACTER AND PERSONALITY
: anger and

charm

contradictions in

danger, reaction to at Catskills resort

fear of failure

forgiveness and

identity, recognition of

maturing of, New York City

military, problems in and

motto

moving-on lifestyle

as outsider

personal standard of high achievement

principles, adherence to

prostate cancer and introspection

psychoanalysis and

risk-taking

rogue tendencies

role models, heroes, mentors

self-esteem

shaping of

spending habits and care with money

tolerance and

work ethic of

CHILDHOOD
: birth and soothsayer’s prediction

Cat Island

chores

clothes

discipline

education

life’s lessons from Cat Island

Miami

Nassau, Bahamas

poverty of

rhythms of early life

swimming “lesson,”

EMPLOYMENT
(
OTHER THAN ACTING
): construction

delivery boy

kitchen help

restaurant (Ribs in the Ruff)

FAMILY
: ancestry

brother (Cyril)

daughters

divorce from first wife

father

mother

reunion with parents at age

and guilt toward

sister (Teddy)

wife (first, Juanita)

FILMS
:
All the Young Men

Blackboard Jungle

Cry, the Beloved Country

The Defiant Ones

Edge of the City

Guess Who’s Coming to Dinner

In the Heat of the Night

Lilies of the Field

No Way Out

A Patch of Blue

Porgy and Bess

Something of Value

Stir Crazy
(director)

Sir, with Love

NEW YORK CITY
: arrival in

black culture in

Harlem and

learning about

racial acceptance in

Raisin in the Sun
and new kind of theater brought to Broadway

self-improvement embarked upon

“time of ashes” in

winter in

PLAYS
:
Anna Lucasta

Lysistrata

Raisin in the Sun

POLITICS
: contemporaries, influence of

criticism of Poitier’s, by contemporaries

Louise, relationship with

loyalty oaths, refusing to sign

in New York City

social movements, heroes of

RACISM
: acting career and removal of barriers

Atlanta restaurant incident

Cat Island and lack of exposure to

charm as survival tactic

Defiant Ones
, message of, and

discussions with Louise and

escape from Southern Jim Crowism

first exposure to, Nassau

in Hollywood

livelihood, maintaining and

in Miami

outsider status and

reaction, internal, to

social conscience of filmmakers and

social violence and

theater and

voting rights

Whipper, Leigh, and

RESIDENCES
: Bahamas 1970s

Beverly Hills

Cat Island

Harlem

Miami

Mt. Vernon, NY

Nassau

Pleasantville, NY

Riverside Drive, NY

SPIRITUALITY AND BELIEFS
: discussion with Charley Blackwell

educability of human beings

evolution of

false

fate, luck, mysteries

Gaia (Mother Earth) and

grand consciousness or divine force

interconnectedness of life

Nature and

knowing, innate

organized religion and

sensitivity panel (inherited talents and tendencies)

VALUES
: Acapulco brush with death and taking stock

acting roles rejected or accepted and

conveyed through acting

environment and

father’s teaching, “true measure of a man,”

forgiveness

integrity

legacy through family

reaching beyond human frailties

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