Imitation of Life (1934)

Regular readers of They Don't Make 'Em Like They Used To know that I am a sucker for tearjerker dramas. The more touching a film is, the more I like it.  One such heart-tugger is 1934's Imitation of Life, which I reviewed back in the very first week of this blog's existence. What I have deemed a "mommy movie," Imitation of Life is one of four films I always watch during Mothers' Day weekend.  (The others being Stella Dallas, Madame X, and Penny Serenade) Loving this film as I do, I decided a revision and expansion of my earlier review was in order during Claudette Colbert's reign as star of the month.

Based on Fannie Hurst's novel of the same name, Imitation of Life stars Claudette Colbert and Louise Beavers, with Rochelle Hudson, Fredi Washington, and Warren William taking on supporting roles. Nominated for three Academy Awards (including Best Picture), Imitation of Life is not only a 5-star film for me, but it is one of my 5 favorite films of the entire decade of the 1930's and among my 20 favorite films of all-time.  I absolutely love this movie.

As white widow Bea Pullman (Claudette Colbert) tries to balance the responsibilities of running her late husband's maple syrup business and taking care of her young daughter, into her life comes Delilah Johnson (beautifully portrayed by the wonderful Louise Beavers), a black woman---also a widow---with a similar-aged daughter of her own. After Delilah convinces Bea to hire her as her maid, she and her little girl, Peola, move in with Bea and daughter Jessie.

Upon tasting Delilah's delicious pancakes one morning, Bea realizes that with her maple syrup and Delilah's pancake recipe, the two of them could join forces and go into business together. Bea sets out to snag a building and all the necessary equipment for them to do so. The business is a great success, and before long, they have gone beyond just a restaurant...in fact, they are packaging Aunt Delilah's Pancake Mix and selling it to grocery stores all across the country. Although, Delilah is a partner and earning a good living through the business, she continues to stay on as Bea's maid, since they have also become good friends.

                                                               image source

Daughters Jessie and Peola, who are now school age, attend a nearby school, but the extremely light-skinned Peola, does not want her teacher nor any of her classmates to know she is black. Able to pass as white because of her fair complexion, she seeks to hide her blackness; when Delilah shows up at the school one day---claiming to be Peola's mother and thereby ending the masquerade---Peola is furious with her.

                                                            image source

The years go by....the women's business becomes more and more successful, Jessie (now Rochelle Hudson) heads off to school, Bea falls in love, and Peola (now Fredi Washington) grows more and more angry at her skin color and tries even harder to sever ties with her black heritage and to live in a white world. She even, at one point, disowns her mother, who keeps showing up in her life and ruining things for her.  How everything plays out is the remainder of the film.

As you can imagine, this is a sobber!!! Yes, Peola will see the error of her ways and seek to make amends; the scene in which that happens is particularly poignant and touching. If you are anything like I am, the tears will be pouring down your face then.

While Claudette Colbert gets top billing in this movie and is completely wonderful and charming in her role, for me, the real star is the amazing Louise Beavers.  Miss Beavers' portrayal of Delilah is totally delightful and full of love and grace and faith.  I was in love with her from moment one. Fredi Washington is terrific in her role as well.  She brings Peola's tortured soul brilliantly to life.  

Even more than the racial situation, Imitation of Life is the story of a mother's love for her child. Both Bea and Delilah loved their daughters unconditionally and sacrificially and would give anything---even her own life---for her.  As a woman who has devoted over two decades of my life to motherhood, I find that stories like this quite resonate with me.

The team of Ross Hunter and Douglas Sirk got their hands on this story in 1959, remaking the film with Lana Turner and Juanita Moore in the Claudette Colbert/Louise Beavers roles and Sandra Dee and Susan Kohner as their respective daughters.  Despite the fact that I adore Lana Turner and count her among my top 5 favorite actresses, I definitely prefer the earlier version. The remake is moving and heart-tugging and I do enjoy it and deem it a 4-star film, but for a couple of reasons, it just doesn't top the original for me. Yes, Lana is gorgeous and her acting is terrific, and Juanita Moore and Susan Kohner are both sensational; however, in the remake, Turner's character is extremely selfish.  She can't hold a candle to Claudette's Bea. Also, Juanita Moore's character is always just a maid---the women don't go into business together. Finally, the white daughter is more whiny and selfish in the remake, making it hard to really like her. The one upside to the Sirk version is that the downward spiral of the black daughter gets more attention and is much more graphic than in the earlier film, making it, therefore, all the more heartbreaking.

Out on DVD, this film ought to be fairly easy to track down.  One of the ways it is available is in the 2-disc Imitation of Life collection, which includes both films, along with bonus feature commentary.

Happy viewing!

NOTE:  Unless stated otherwise, all photos were obtained from Doctor Macro  (HERE)

Edge of the City (5 stars)

Another of my 5-star film discoveries of 2013 is 1957's Edge of the City, a hard-hitting racial issues/union corruption drama starring John Cassavetes and "man of the month" Sidney Poitier.  The film, which features Jack Warden and Ruby Dee in supporting roles, was originally a TV movie entitled A Man Is Ten Feet Tall.  The part was written with Sidney Poitier in mind.

Looking for work in a New York railroad yard is drifter Axel North (John Cassavetes).  Through a former friend, Axel has a contact at the rail yard and is soon hired on.

Axel's contact---the corrupt Charlie Malek (Jack Warden)---rules the roost at the yard and demands a kickback from Axel for getting him the job.  Additionally, he forbids him to have anything to do with Tommy Tyler (Sidney Poitier)---another employee who has been friendly to Axel.  Though Malek never outright says so, it is obvious that his contempt for Tommy is because he is black.

Despite Malek's warnings to stay away from Tommy, Axel goes to work on Tommy's crew, and the two men become very good friends.

As Axel spends time with Tommy and his wife, Lucy (Ruby Dee), they set him up with one of their friends, and while on a date one evening, Axel is approached by a man claiming to know him from somewhere...something which Axel denies.  Although Axel attempts to explain his behavior, it would appear that he is hiding something.

Deeply troubled by his past---and trying to hide his true identity, lest he be discovered and sent to prison---Axel finds himself at Malek's mercy.  Having discovered Axel's secret, Charlie demands a larger kickback from him; he also insists that Axel leave Tommy's crew and join his instead...failure to do so, and the gig is up.   A friend in every sense of the word, Tommy steps in to help Axel out of his difficulty...an action which infuriates Charlie and results in tragedy.



As with nearly every Sidney Poitier film I have ever seen, this is an intense, hard-hitting drama, featuring sensational acting...John Cassavetes and Mr. Poitier are both stellar in their roles.  Jack Warden is appropriately nasty and quite good as "the heavy."  Ruby Dee is terrfic as well.  Her final scene with Mr. Cassavetes is riveting.  The film's score is dramatic and quite adds to the mood.

I've seen Edge of the City compared to On the Waterfront.  For me (and I know I often march to the beat of my own drum), Edge of the City is the superior film.  While both tackle the issue of union corruption, abuse of power, and the need to speak out against them, Edge of the City moved me in a way On the Waterfront did not.  Quite honestly, Waterfront is only a 3-star film for me.

Portraying a black man and a white man as good friends was bold for 1957, as was having the black man as the white man's workplace superior.  For those reasons, Edge of the City did not play in the American South, thus making it a poor money-maker.

To  my knowledge, this film is not out on DVD; however, it is on the TCM schedule for Thursday, March 28th, at 8:00 p.m. (ET).  If you are a fan of either Sidney Poitier or John Cassavetes, you won't want to miss it.

Happy viewing!

Kings Go Forth (4 stars)

Kings Go Forth, from 1958, is a World War II romantic drama starring Frank Sinatra, Tony Curtis, and Natalie Wood.  Directed by Delmer Daves, this film, which flips back and forth between romantic drama and wartime action, is tender and touching and very bittersweet.  It's one of many Frank Sinatra films our family owns, and since there is enough action in it to keep a 20-year old boy entertained, my son recently put in a request that we watch this one.

While Paris is being liberated in 1944, Allied troops are marching through Southern France as they prepare to drive the German troops from the nearby mountains.  One of the soldiers being welcomed by the grateful French people is Lt. Sam Loggins (Sinatra).

Sam's outfit has just received a new recruit---communications man Brit Harris (Tony Curtis).  A fun-loving, womanizing show-off, Brit is described by Sam as a smooth operator, who knows all the angles.

While on a weekend trip to Nice, Sam meets a beautiful young woman, Monique Blair (Natalie Wood), and he is soon quite smitten with her.

Although Monique at first declines Sam's request for another date, she ends up seeing him again and introducing him to her mother as well.  Frank begins to live for his weekend visits to Nice, and he becomes quite close to both Monique and her mother.

Much to Sam's surprise, he learns that Monique is, in fact, an American, but that she has lived in France all her life.  Monique's conversations are liberally peppered with references to her late father, and Sam remarks that her father must have been a very wise man; however, when Monique reveals that her father was a black man, Sam is quite taken aback. Without even acknowledging Monique's words, he leaves her home and heads back to his base, where in addition to the war he is fighting with the Germans, he begins fighting a personal war as well.

Having grown up detesting black people, Sam has a hard time coming to terms with the fact that the woman he loves has black blood in her.  Eventually, though, he realizes that Monique's race doesn't matter to him, nor does it change his love for her.

While out on the town, Sam and Monique run into Brit, and in short order, Monique---who has already told Sam she thinks of him as nothing more than a friend---and Brit have eyes for only each other, leaving Sam odd man out.  Brit asks Monique to marry him, and she happily says yes, but how will Brit, who is not nearly the man Sam is, react when he discovers the truth of Monique's parentage?   The answer to that question, as well as the resolution to the battle taking place in the mountains, will play out in the balance of the film.



Kings Go Forth is a very bold (for its time) film.  While today we (most of us anyway) would think nothing of Monique's revelation, in 1958, that storyline had to be quite unsettling to audiences, especially when the film's lead character ended up not having a problem with it.  I applaud every person involved in this film for pursuing this very worthwhile story. Without question, Kings Go Forth is another of the many films which clearly shows that Frank Sinatra, indeed, could act.  He's wonderful here.  I completely love his character and the way in which Frank brought him to life.  My heart was breaking for Sam as he dealt with the pain of unrequited love.  I'm not overly familiar with Tony Curtis, but I thought he was super in his role as well.  Natalie Wood was beautiful and sweet, and she did a great job with the French accent.  She played her part perfectly, as did Leora Dana, who portrayed Monique's mother.

The Elmer Bernstein score of the film is lovely.  It includes a portion called "Monique's Theme," and while the film features only an instrumental version of that beautiful piece of music, lyrics were written for it, and the song, entitled "Monique" was a hit for the velvet-voiced Sinatra.



In addition to the romantic storyline, there is the war side as well.  The film is liberally interspersed with battle scenes, all of which are realistic and quite tense.  All these things combine to make an extremely solid, 4-star film, which I highly recommend.

The film is out on DVD, plus it's also on the TCM schedule for Saturday, June 23rd, at 4:15 a.m. (ET).    I hope you are able to catch it.

Happy viewing!!

Guess Who's Coming to Dinner (5 stars)

Guess Who's Coming to Dinner, from 1967, is a racial issues romantic drama starring Spencer Tracy, Katharine, Hepburn, and Sidney Poitier.  Produced and directed by Stanley Kramer, this bold (for its time) film garnered ten Academy Award nominations, coming away with two wins, including a Best Actress statue for Katharine Hepburn.  In celebration of Mr. Poitier's February 20th birthday, I recently enjoyed a first-time viewing of this film.

Joanna Drayton (Katharine Houghton) has arrived home unexpectedly from a trip to Hawaii; as if her earlier-than-planned arrival isn't unsettling enough, the white Joanna has a black man in tow with her...and he's not just any black man.  He is Dr. John Prentice (Sidney Poitier), a man she met ten days ago and whom she intends to marry.  Having been raised by parents who have always loathed racial discrimination, Joanna is sure her parents will welcome John into their lives with open arms.

Surprisingly to Joanna, her parents (Spencer Tracy and Katharine Hepburn) are speechless at first, and it is not just because of the suddenness of her marriage plans.  Quite honestly, Joanna marrying a black man was something they had never even considered.  While her dad says his concerns are about the difficulties the multi-racial couple will encounter, is it more than that?  Does he really believe in equality as much as he has always claimed?

For his part, John, who has told his parents about the upcoming nuptials over the telephone, intends to inform them of his intended's race via a letter.  However, that plan changes when they decide to make the short flight from Los Angeles to San Franciso in order to meet their future daughter-in-law.  Their reaction is not much different than Joanna's parents' reaction, and as the two families, along with the Drayton's priest friend (played by the delightful Cecil Kellaway), prepare to have dinner together, there are sure to be fireworks.

While John and Joanna are adults and don't need their parents' permission to marry, they do desire to have their blessing.  In fact, John has vowed that unless Mr. and Mrs. Drayton give their approval, the wedding will not take place, as he doesn't want to be responsible for bringing estrangement to their always-close relationship.  How everything works out is the balance of the film.

Guess Who's Coming to Dinner is a wonderful movie and quite bold and ground-breaking for its time.  While the majority of people nowadays have zero problem with inter-racial marriage, audiences of the mid-to-late 1960's were definitely not on that page.  This had to be one of the most controversial films of the decade, and I would imagine that many people were furious at this film's message.

Not only is the subject matter of the film powerful, but so is the acting.  Both Spencer Tracy and Katharine Hepburn received leading actor/actress nominations, and Cecil Kellaway and Beah Richards (who portrayed Sidney Poitier's mother) received supporting actor/actress nominations.  Quite honestly, I'm not sure why Mr. Poitier was overlooked...he was totally fantastic in his role.  In my opinion, though, this really was Spencer Tracy's film (more than Poitier's or Hepburn's), and he's the one I think ought to have come away with the win.  He was beyond sensational in his role.  The expression he had on his face for the majority of the film was priceless.  And, wow, the look in Katharine Hepburn's eyes as Tracy gave his grand speech at the end of the movie was amazing.  Her eyes were glistening with tears, and it was easy to believe that it was her real-life love for Spencer which was spilling forth.  Very touching!!  The score of the film was beautiful as well.

This film is a little heartbreaking to watch because of the knowledge that it was Spencer Tracy's final role; in fact, he passed away just 17 days after filming had been completed.  Yes, he definitely went out on top, but seeing him so old and so close to death makes the film a bit sad for me.

One final thought...at one point, Sidney Poitier says to his father, "Dad, you think of yourself as a colored man.  I think of myself as a man."  I've said this before and I'll say it again, every single Sidney Poitier film I've seen, he is defined by his race.  Instead of simply portraying a man, he has always portrayed a black man, a man whose race is the overwhelming focus of the movie.  I wonder if he ever grew weary of those kinds of roles.  I wonder if he ever wished he could, like his character said, "just be a man."

Guess Who's Coming to Dinner is out on DVD, so it should be very easy to track down.  Additionally, it is on the TCM schedule for Saturday, May 12th.  I hope you get a chance to see it, because I think it is a definite must-see film.

Happy viewing!!

The Defiant Ones (4 stars)

The Defiant Ones, from 1958, is an exciting racial/prison drama starring Tony Curtis and Sidney Poitier.  Produced and directed by Stanley Kramer, this film was originally supposed to have Marlon Brando in the Tony Curtis role; however, according to what I learned from Robert Osborne, Mr. Poitier was Mr. Kramer's absolute first and only choice for the role of Noah Cullen.  Because Poitier had another commitment at the time, filming had to be delayed; by the time they were ready to begin shooting, Brando was unavailable, so the role went to Tony Curtis, who, I think, did a totally fantastic job.

A truckload of convicts is being transported to a work farm, where the prisoners will work as part of a chain gang.  Noah Cullen (Sidney Poitier), a black man serving an 8-year prison sentence for assault and battery, and John Jackson (Tony Curtis), a white man serving a sentence for robbery, are shackled together.  Though the two men completely despise each other, the right arm of Cullen and the left arm of Jackson bind them together; when the truck they are riding in is involved in an accident, the two men make their escape. 

Try as they might, Cullen and Jackson are unable to break the chain binding them to one another; therefore, though each man would prefer to travel in a different direction, they have no choice but to compromise and work together.  Over and over again---as they navigate a fast-moving river, as they climb up from a deep pit, as a lynch mob comes at them, as the lawmen hunting them grow ever-nearer---the two men must put aside their racial differences and support one another.  Eventually, as the men grow to respect each other, a friendship is formed.

This is an amazingly acted film.  Both Sidney Poitier and Tony Curtis were wonderful in their roles; in fact, both men received a Best Actor Academy Award nomination for their work---a first nomination for each man.  It certainly seems to be that the loss of Marlon Brando was absolutely not a detriment to this film.  It worked beautifully with Tony Curtis in the white man role.

When the credits appear at the beginning of the film, both Curtis and Poitier's names are listed before the film title.  According to Robert Osborne's wonderfully informational snippets, this was the first film of Mr. Poitier's in which that happened.  And it happened at the request of Tony Curtis, who felt that Poitier's contribution to the film was just as great as his own.  Perhaps that seems like a no-brainer to us now; however, back in 1958, with the racial situation being far different, it was probably quite unexpected for Mr. Curtis to have made that request.  I'm glad he did, though, as he was correct---Sidney Poitier was just as much the star of the film as Tony Curtis was.

The Defiant Ones is really an amazing movie---well-acted, well-directed, and featuring the kind of bold storyline to which I tend to gravitate.  I definitely highly recommend it.  Although I'm not entirely certain the film is out on DVD, TCM will be airing it Friday, February 17th, at 2:30 p.m. (EST).

Happy viewing!!

Pressure Point (4 stars)

Pressure Point, from 1962, is a hard-hitting racial/prison drama starring Sidney Poitier and Bobby Darin.  As often seemed to be the case, Mr. Poitier finds himself taking on a role in which his skin color is an issue.  Here in Pressure Point, he portrays a psychologist, and as the film begins, he reflects back to 1942, when he was practicing in a federal penetentiary.

A twenty-nine year old man (Bobby Darin), who has been sentenced to three years for sedition, is sent to the doctor because of erratic behavior and difficulty sleeping.  At the initial meeting of the two, the patient's lack of respect for the black doctor is obvious; though the doctor is irritated by the condescending atittude shown him, he is, nonetheless, determined to help the young man.

Feeling there is some deep-rooted reason for the man's aggression, the doctor questions him about his childhood, and a picture of an abusive father is brought forth.  Growing to manhood, the patient embraces the teachings of the Nazi party, giving him a hatred for blacks and Jews...a feeling that has only strengthened over time.  Believing that the purity of the white Christian stock is endangered by Negroes and Jews, he is an adamant believer in all things Nazi.

Will the doctor be able to help?  Will the patient let go of his bigotry and hatred?  These are the questions that play out in this hard-hitting drama.

Having only seen Bobby Darin in light romantic comedies, I was surprised to find how good he was in this kind of role.  I thought he was quite exceptional...really, in my mind, this was more Darin's show than Poitier's.  Yes, Mr. Poitier gave his usual wonderful performance, but I definitely feel Darin stole the show here.    It occurred to me that every Poitier film I've seen has him in a role where his skin color marks him for hatred and/or mocking.  I suppose that is to be expected given that he he made so many films in the late 50's and 60's; I wonder, though, if he ever grew weary of his characters always having to fight against the bigotry? I wonder if he would have enjoyed the chance to make a film where race wasn't an issue?   I suppose he did make films that were less "deep," but I just haven't seen any of those ones.

Unlike many of the racial dramas of that era, the cringe-inducing "n" word wasn't used one time in this film; instead, they used Negro over and over again.  Perhaps that word isn't used much nowadays, but I will certainly take it over the other "n" word.  Still, though, the man's hatred toward blacks and Jews is quite painful to watch.

While I don't believe Pressure Point is out on DVD, it is available in its entirety on YouTube.  HERE is the link if you'd like to watch this well-acted, hard-hitting film.

Happy viewing!!

Something of Value (4 stars)

Something of Value, from 1957, is a hard-hitting political/racial unrest drama starring Rock Hudson and Sidney Poitier, with Dana Wynter and Wendy Hiller taking on supporting roles.  It's a film that takes place in Kenya during the 1940's and early 1950's...a time when the East African country was under British rule.

Peter McKenzie (Rock Hudson), a white English colonist, and Kimani (Sidney Poitier), a black native Kenyan, have been raised as brothers.  Since Peter's own mother had died when he was a baby, Kimani's mother, a servant for the McKenzie family, raised the white child.  As a result, Peter and Kimani have played together and been as close as brothers all their lives; however, as the boys grow to adulthood, Peter is told that Kimani is supposed to be his servant, not his equal.  In fact, Peter is told, "Blacks are blacks and not playmates."  Those ideas do not sit well with Peter, and although Kimani tells him they are not friends anymore, but servant and master, Peter responds that he will always be his friend.

Wanting more out of life than to be "head man" to a white man, Kimani leaves his home to join up with a revolutionary group.  Although Kimani would prefer non-violent methods of delivering the native people from the English, the group he has joined insists that independence will only be accomplished with guns and spilled blood.  Eventually, Kimani drinks the vow, which consists of sheep's blood, millet, and earth.  As he drinks, he promises "to steal guns, to never be a Christian, and to drive out all English or kill them."

Of course, Peter's and Kimani's paths are destined to cross again, and with both men having a bond of love for the other, can one of them possibly kill the other?  Or can the war be won peaceably?  These are the questions that play out in this hard-hitting, heartbreaking drama.

While I readily admit I know little about Kenyan history and, therefore, cannot say with certainty that this film is historically accurate, I did, nevertheless, find it to be completely riveting.  Sidney Poitier, who I think is a simply amazing actor, was totally stellar in this role.  He was completely believable, and my heart hurt for him over and over again.  Rock Hudson, I thought, was very good in his role.  Despite the fact that he was portraying an Englishman, yet had no English accent, he was completely believeable to me.  I could simply "blow off" the fact that the accent wasn't right.

Although tame by today's standards, there were a couple of very violent scenes, which really brought tears to my eyes.  The poignant ending, also, brought tears to my eyes.   All in all, I think Something of Value is a wonderful movie, and I highly recommend it.

This film is out on DVD; plus, it is available in its entirely on YouTube (HERE).  Happy viewing!!

Odds Against Tomorrow (4 stars)

Odds Against Tomorrow, from 1959, is a racially explosive crime drama directed by Robert Wise, and starring Robert Ryan and Harry Belafonte, with Shelley Winters and Ed Begley taking on supporting roles. 

Ryan, who excelled at playing cynical, angry, unlikeable men, is Earl Slater, a feisty, bigoted, unemployed ex-con.  As the film begins, Earl visits with Dave Burke (Ed Begley), a dirty cop who has done prison time.  Dave has a plan for some quick, easy cash---the robbery of a smalltown bank some 100 miles from New York---and he invites Earl to take part in the action.  After Earl realizes that the final third of their team will consist of a black man, he's not so sure he's willing to get involved; however, broke, and ashamed that he lives off the earnings of his wife (Shelley Winters), he reconsiders.

The other third of Dave's robbery team is Johnny Ingram (Harry Belafonte), a down-on-his-luck gambler, who is deeply in debt.  Johnny immediately tells Dave he doesn't want to get involved in something illegal, but when his ex-wife and little girl are threatened by the man to whom he owes money, he feels he has no other choice.

As Dave, Earl, and Johnny make their way to the little town, for what is supposed to be an easy hold-up, the tensions are high.  Earl doesn't like the idea of working with a black man, and in the end, he doesn't trust Johnny enough to give him the keys to the getaway car, an action that just may prove to have disastrous results.

Odds Against Tomorrow is an interesting, well-acted film, though I readily admit that the ending wasn't too original---it seemed to have been copied from White Heat.  Still, though, I really enjoyed the film.  Robert Ryan was great, as always.  I absolutely love him in roles like this.  Harry Belafonte, whom I have no exposure to at all, was good as well.  And there's even an opportunity to hear him sing.

The film is out on DVD, plus it's available on Net Flix instant viewing and in several parts on You Tube.  Hope you get a chance to see it.  Happy viewing!!

A Patch of Blue (4 stars)

A Patch of Blue, from 1965, is a bold, powerful drama starring Sidney Poitier, Shelley Winters, and Elizabeth Hartman.  Probably considered quite controversial for its time, this hard-hitting film contains both ugly, explosive scenes and incredibly beautiful, tender ones.  I found myself lightly misty-eyed by the end of the film.

Selina D'Arcy (Elizabeth Hartman) is a young woman who, since being blinded at the age of five, has lived in a world of isolation and loneliness.  Sharing a dingy, one-room apartment with her drunken grandfather (Wallace Ford) and prostitute mother, Roseanne (Shelley Winters), Selina knows no love or warmth.  She is little more than a servant to the two elders and is continually verbally abused and told how worthless and ugly she is.

Yearning for some fresh air and sunshine, Selina escapes the prison-like apartment one day, when an acquaintance is willing to escort her to the local park.  She intends to spend the day there and then be escorted back home by her grandfather later that night.  While in the park, Selina meets Gordon Ralph (Sidney Poitier), a kind and caring man who comes to her aid after she is startled by a caterpillar falling down the back of her dress.  As Gordon spends time with Selina, he realizes that not only is she blind, but she has never been taught how to function in her blindness.  His heart goes out to her, and for the first time in years, Selina has kindness and caring lavished upon her. 

Every afternoon, Selina meets up with Gordon at the park; before long, she is in love with him.  The only thing is, Gordon is a black man, and her mother has forbidden her to ever have anything to do with black people.  When Roseanne discovers Selina's relationship with Gordon, a violent, ugly scene results, and Gordon is more determined than ever to help Selina escape the ugliness and unhappiness of her home life.  Gordon, however, is getting the "stay away from the white girl" attitude from his brother.  So, what can he possibly do to help this young woman he has come to really care about?

The acting in A Patch of Blue is terrific.  Elizabeth Hartman (who I never heard of prior to this film) gives a very touching performance as the vulnerable, love-starved blind young woman.  She received a Best Actress Academy Award nomination for her work here.  Shelley Winters, who won the Best Supporting Actress Award for her role, was quite sensational.  And Sidney Poitier, always fantastic, was very solid and believable in this film.  He is becoming one of my favorite actors...I definitely want to see more of his work.

This film was actually quite bold for its time, and that is another reason I am giving it 4 stars.  While interracial romance is totally a non-issue to most all of us nowadays, in 1965, it was definitely unacceptable.  To make a movie in which a white girl falls in love with and kisses a black man had to really unsettle audiences.  I did read on Wikipedia (which means I don't know if I deem the information totally trustworthy) that when the film was released in Southern U.S. cities, the kissing scene between Poitier and Hartman was removed.  Even without the kissing scene, though, to have a white woman telling a black man she loved him in the mid 1960's was quite bold, and such boldness gives me an even greater appreciation for this film.

A Patch of Blue is a beautiful, tender story...a definite must-see film.  It's out on DVD, so it should be quite easy to track down.  Happy viewing!!

No Way Out (4 stars)

No Way Out, a bold 1950 drama directed by Joseph Mankiewicz, and starring Richard Widmark, Linda Darnell, and Sidney Poitier in his film debut, explores the ugly issue of racial hatred.  Way ahead of its time, No Way Out actually depicts the venemous, black-hating man as some sort of sick monster.  Wow!  In 1950, segregation was common and totally accepted, as was total dislike of black people, so the fact that this film was bold enough to show that as unacceptable and wrong is quite amazing.  Definitely, it had to be a message that was new and, perhaps, unwelcome to audiences of the time.  Yet, the film was made...that alone makes this a 4 star film for me.

Dr. Luther Brooks (Sidney Poitier), an intern in a county hospital, happens to be on duty the night two hoodlum shooting victims are brought in.  Ray Biddle (Richard Widmark) is cocky and arrogant and totally detests black people.  He absolutely cannot stand the thought of a black doctor's hands on him and quite loudly makes his disgust known.

After noticing that Ray's brother Johnny seems to have more than just a superficial shotgun wound, Dr. Brooks orders a spinal tap for the man.  Before the spinal tap is completed, however, Johnny dies, infuriating Ray even more.  He is convinced that Dr. Brooks murdered him, and nothing will deter him from that belief.  Dr. Brooks begins to wonder if he was wrong, if he had made an incorrect diagnosis, but the only way to determine that is to do an autopsy. And Ray Biddle, Johnny's next of kin, won't give permission for that, especially when he knows just how much Dr. Brooks needs an autopsy.

Dr. Brooks and his chief of staff discover that Johnny had an ex-wife, Edie (Linda Darnell), and they hope she can be convinced to persuade Ray to agree to the autopsy.  Ray, however, has other ideas...ideas that will lead to a violent racial explosion.

The acting in this movie is spectacular!  Richard Widmark is totally amazing as the obsessed bigot.  He just oozes evil and hatred.  Sidney Poitier was fabulous as well.  It's easy to see why he would go on to become a great star.  And Linda Darnell was brilliant as well.  Truly, all three leads were amazing, and their acting, coupled with the boldness of the film is why I am giving 4 stars.

No Way Out is not an easy film to watch.  With the "n" word being used dozens of times, as well as the obsessive racial hatred, this is definitely not a feel-good film.  But it's absolutely a worthwhile film, and I highly recommend it.

Happy viewing!!!