Not that often, it seems, as Beverly Todd's minor character Sally Carter claims to have named herself after Dorothy Dandridge and asks Poitier's character if he's a fan. As he starred with Dandridge in Porgy and Bess, Todd never wonders why the man in her bath tub looks just like Sidney Poitier, but it's a nice tribute to Dorothy, who had died just four years previously.
Based on the same source novel as the artistically superior Odd Man Out (1947), this drama sees wholesome Sidney Poitier retooled as conflicted black militant Jason Higgs. Somehow it doesn't quite gel, despite Poitier's considerable thespic skill, as by this stage his general screen persona was too rigidly defined. The upshot is it's a little like watching Lionel Richie sing Fight The Power, or seeing Extremities remade starring Bill - er, well, you get the idea. That said, it's hard to imagine another actor making the character of Higgs so ultimately sympathetic, with his tendency towards reluctant violence.
The film closes the chapter on Poitier's 60s output, just two years on from his commercial peak; only forgettable comedy "For Love Of Ivy" coming between it and him being the biggest draw at the box office. After this, it's largely downhill: patchy Virgil Tibbs sequels, four one-off movies (including the underrated The Wilby Conspiracy), three comedies with Bill Cosby(!) and then retirement. Poitier would of course come back in the 80s for bit parts and then get involved in TV movies... while these comeback films weren't, generally, awful, it's astonishing that both the artistic and commercial appeal of Sidney Poitier could be squandered so drastically.
As a closer to the decade, this isn't a bad one to go out on, possibly scraping in as one of his 15 best movies, if only just. One-time director Robert Alan Aurthur gives a bleak outlook to the exteriors, though the studio work, including the lighting and colour palette, does unfortunately look flat and like the aforementioned TV movies that Sidney would drift into during the 90s. And as excellent a musician as Quincy Jones is, his soundtrack does sometimes seem at odds with the content; or possibly it's just dated in an unappealing way.
Poitier gets some considered lines of dialogue in his lead role, though the near-2 hour runtime is perhaps at least a quarter of an hour overlong, and a romantic subplot with Joanna Shimkus feels artificially grated onto the narrative. Shimkus' involvement is perhaps the most famous element of the picture, as she became Poitier's second wife seven years later. Her input does ultimately lead to a tragic ending, as her love for Poitier's humanised militant elicits an emotional response from the audience, though the more the film turns into a straight thriller, the less vibrant the dialogue.
Based on the same source novel as the artistically superior Odd Man Out (1947), this drama sees wholesome Sidney Poitier retooled as conflicted black militant Jason Higgs. Somehow it doesn't quite gel, despite Poitier's considerable thespic skill, as by this stage his general screen persona was too rigidly defined. The upshot is it's a little like watching Lionel Richie sing Fight The Power, or seeing Extremities remade starring Bill - er, well, you get the idea. That said, it's hard to imagine another actor making the character of Higgs so ultimately sympathetic, with his tendency towards reluctant violence.
The film closes the chapter on Poitier's 60s output, just two years on from his commercial peak; only forgettable comedy "For Love Of Ivy" coming between it and him being the biggest draw at the box office. After this, it's largely downhill: patchy Virgil Tibbs sequels, four one-off movies (including the underrated The Wilby Conspiracy), three comedies with Bill Cosby(!) and then retirement. Poitier would of course come back in the 80s for bit parts and then get involved in TV movies... while these comeback films weren't, generally, awful, it's astonishing that both the artistic and commercial appeal of Sidney Poitier could be squandered so drastically.
As a closer to the decade, this isn't a bad one to go out on, possibly scraping in as one of his 15 best movies, if only just. One-time director Robert Alan Aurthur gives a bleak outlook to the exteriors, though the studio work, including the lighting and colour palette, does unfortunately look flat and like the aforementioned TV movies that Sidney would drift into during the 90s. And as excellent a musician as Quincy Jones is, his soundtrack does sometimes seem at odds with the content; or possibly it's just dated in an unappealing way.
Poitier gets some considered lines of dialogue in his lead role, though the near-2 hour runtime is perhaps at least a quarter of an hour overlong, and a romantic subplot with Joanna Shimkus feels artificially grated onto the narrative. Shimkus' involvement is perhaps the most famous element of the picture, as she became Poitier's second wife seven years later. Her input does ultimately lead to a tragic ending, as her love for Poitier's humanised militant elicits an emotional response from the audience, though the more the film turns into a straight thriller, the less vibrant the dialogue.