Monday, 10 January 2022

Sidney Poitier, the first black man to win the best actor Academy Award, dies aged 94



Poitier created a distinguished film legacy in a single year with three 1967 films at a time when segregation prevailed
in much of the United States.
 (Reuters: Danny Moloshok)

Sidney Poitier — who broke racial barriers as the first black winner of the best actor Oscar and inspired a generation during the civil rights movement — has died aged 94.

The actor's death was confirmed by Eugene Torchon-Newry, acting director-general of the Ministry of Foreign Affairs in the Bahamas, where Poitier was raised.


Poitier created a distinguished film legacy with three films in 1967 at a time when segregation prevailed in much of the United States.


In Guess Who's Coming to Dinner he played a black man with a white fiancee and In the Heat of the Night he was Virgil Tibbs, a black police officer confronting racism during a murder investigation.


He also played a teacher in a tough London school that year in To Sir, With Love.


Poitier had won his history-making best actor Oscar for Lilies of the Field in 1963, playing a handyman who helps German nuns build a chapel in the desert.


Five years before that Poitier had been the first black man nominated for a lead actor Oscar for his role in The Defiant Ones.


His Tibbs character from In the Heat of the Night was immortalised in two sequels — They Call Me Mister Tibbs! in 1970 and The Organization in 1971 — and became the basis of the television series In the Heat of the Night starring Carroll O'Connor and Howard Rollins.


His other classic films of that era included A Patch of Blue in 1965 in which his character is befriended by a blind white girl, The Blackboard Jungle and A Raisin in the Sun, which Poitier also performed on Broadway.


Tributes poured in from celebrities and politicians including the Prime Minister of the Bahamas Philip Davis. who said the whole country was "in mourning" and instructed for the Bahamian flag be flown at half-mast "at home and in our embassies around the world".


"Even as we mourn, we celebrate the life of a great Bahamian: a cultural icon, an actor and film director, an entrepreneur, civil and human rights activist and, latterly, a diplomat," he said.


Hollywood figures were also among those celebrating Poitier's legacy.


"If you wanted the sky i would write across the sky in letters that would soar a thousand feet high.. To Sir… with Love Sir Sidney Poitier R.I.P. He showed us how to reach for the stars," award-winning actor and TV host Whoopi Goldberg wrote on Twitter.


"The dignity, normalcy, strength, excellence and sheer electricity you brought to your roles showed us that we, as Black folks, mattered!!!," Oscar winner Viola Davis tweeted.


Poitier was born in Miami on February 20, 1927, and raised on a tomato farm in the Bahamas, and had just one year of formal schooling.


He struggled against poverty, illiteracy and prejudice to become one of the first black actors to be known and accepted in major roles by mainstream audiences.


Poitier picked his roles with care, burying the old Hollywood idea that black actors could appear only in demeaning contexts as shoeshine boys, train conductors and maids.


"I love you, I respect you, I imitate you," Denzel Washington, another Oscar winner, once told Poitier at a public ceremony.


As a director, Poitier worked with his friend Harry Belafonte and Bill Cosby in Uptown Saturday Night in 1974 and Richard Pryor and Gene Wilder in 1980's Stir Crazy.


From the theatre to the silver screen


Poitier grew up in the small Bahamian village of Cat Island and in Nassau before he moved to New York at 16, lying about his age to sign up for a short stint in the army and then working at odd jobs, including dishwasher, while taking acting lessons.


The young actor got his first break when he met the casting director of the American Negro Theater.


He was an understudy in Days of Our Youth and took over when the star, Belafonte, who also would become a pioneering black actor, fell ill.


In all, he acted in more than 50 films and directed nine, starting in 1972 with Buck and the Preacher in which he co-starred with Belafonte.


In 1992, Poitier was given the life achievement award by the American Film Institute, the most prestigious honour after the Oscar, joining recipients such as Bette Davis, Alfred Hitchcock, Fred Astaire, James Cagney and Orson Welles.


Then-president Barack Obama presented Poitier with the Medal of Freedom in 2009. (Reuters: Jason Reed)


"I must also pay thanks to an elderly Jewish waiter who took time to help a young black dishwasher learn to read," Poitier told the audience.

"I cannot tell you his name. I never knew it. But I read pretty good now."


In 2002, an honorary Oscar recognised "his remarkable accomplishments as an artist and as a human being."


Poitier married actress Joanna Shimkus, his second wife, in the mid-1970s.

He had six daughters with his two wives and wrote three books — This Life (1980), The Measure of a Man: A Spiritual Autobiography (2000) and Life Beyond Measure: Letters to My Great-Granddaughter (2008).


"If you apply reason and logic to this career of mine, you're not going to get very far," he told the Washington Post.


"The journey has been incredible from its beginning. So much of life, it seems to me, is determined by pure randomness."


Poitier wrote three autobiographical books and in 2013 published Montaro Caine, a novel that was described as part mystery, part science fiction.


Poitier was knighted by Britain's Queen Elizabeth II in 1974 and served as the Bahamian ambassador to Japan and to UNESCO, the UN cultural agency.


He also sat on Walt Disney Co's board of directors from 1994 to 2003.


In 2009, Poitier was awarded the highest US civilian honour, the Presidential Medal of Freedom, by then-president Barack Obama.


The 2014 Academy Awards ceremony marked the 50th anniversary of Poitier's historic Oscar and he was there to present the award for best director.

Reuters


First published at ABC News, January 8, 2022





Tuesday, 4 January 2022

The Cottingley Fairies Hoax: 1917 - 1920

Francis Griffiths aged 9



by Naomi Rea, April 2, 2019


Faked ‘Fairy’ Photographs From a Famous 20th-Century Hoax Could Fetch $90,000 at Auction.


Just children at the time of the hoax, the two women behind the photographs maintained their incredible story for decades.


A set of rare photographs of one of the biggest hoaxes of the 20th century are due to go under the hammer in a UK auction house in April. The black and white images, which purported to capture real fairies on camera, spread like wildfire in the early 1900s. They are expected to go for as much as £70,000 ($90,000).


The set of four images, known as the “Cottingley Fairies,” were taken by two schoolgirls in their garden in the British village of Cottingley in the summer of 1917, with a second set being taken in 1920. 


The girls, sixteen-year-old Elsie Wright and her nine-year-old cousin Frances Griffiths, took the snaps on Wright’s father’s camera, using paper cut-outs of fairies to stage an ethereal fairy encounter. The photographs will be up for sale at Dominic Winter Auctioneers on April 11.


At another sale of “Cottingley Fairies” photographs last fall at the auction house, the lots went for £20,000 ($26,000), way above the pre-sale high estimate £1,000 ($1,300).


Their imaginative hoax garnered a lot of publicity at the time, especially after Sherlock Holmes author Sir Arthur Conan Doyle took interest in the images and used them to illustrate an article he had written about fairies. 


Copyright 1920 Arthur Conan Doyle. Original from University of Michigan.

Although public opinion was split on the photographs’ authenticity, the two girls maintained their story right through to 1983, when they finally admitted the photos had been faked. Even then, the younger woman, Frances Griffiths, continued to insist that a fifth photograph she says was taken accidentally in 1920, titled The Fairy Bower, was real.


The fifth, or “real” photograph of fairies and elves, taken by Frances Griffiths when she
accidentally dropped the camera onto the grass and it activated. Many people over the years
are convinced they can see fairies in this photo. Photo by SSPL/Getty Images.


Griffith’s daughter Christine Lynch is selling that photo, along with the others, ahead of the forged photoshoot’s 100th anniversary. “It’s time they went to a museum where someone else can see them and enjoy them,” The 88-year old told the Guardian. “They haven’t been on view at all so it’s nice for someone else to see them.”

The images, which each feature at least one of the girls, were made on the eldest’s father’s Midg quarter-plate camera; Elsie Wright had drawn illustrations copied from a popular children’s book and had drawn wings on them; Together, they then cut out the cardboard figures and propped the little puppets up with hatpins in various locations. In their confession, they explained that they had disposed of the figures in a nearby stream after the shoot.

Lynch said that the deception had a lasting negative effect on her mother, who was uncomfortable with the dishonesty and the attention. Lynch says that her mother’s older cousin Elsie “swore her to secrecy, and she said it ruined her life because she was looking over her shoulder the whole time. As a little girl in 1920 she was not used to publicity and she didn’t like it at all, and it haunted her.”

The rare vintage copies of the hoax are going on sale alongside other photographs and a camera from that period at Dominic Winter Auctioneers in Gloucestershire on April 11.


A photograph of Elsie Wright taken by Frances Griffiths using Elsie’s father Arthur’s Midg quarter-plate camera. Photo by SSPL/Getty Images.


A photograph of Elsie ‘Iris’ Wright, taken by Frances ‘Alice’ Griffiths. Photo by SSPL/Getty Images.


A photograph of Elsie Wright taken by Frances Griffiths using Elsie’s father Arthur’s Midg quarter-plate camera. Photo by SSPL/Getty Images.


Addendum by site administrator Tony Magee: In 1917 photography was still a relatively new forum and not many people owned a camera. But newspapers and other publications did, and made full use of the medium. There was a strong belief amongst the general public that if something appeared in photographic form, it was real. This added huge weight to the belief that Frances and Elsie's photographs of the fairies were genuine.


Original article by Naomi Rea first published at artnet-news, April 2, 2019