Sidney Poitier and A PATCH OF BLUE (’65) by Raquel Stecher
I fell in love with Sidney Poitier when I first watched A PATCH OF BLUE (’65). It’s hard not to do so. Gordon Ralfe is one of the most beloved roles among his fans and rightly so. The film is full of sweet moments with Elizabeth Hartman as Selina D’Arcey—the blind teenager who’s suffered much abuse at the hands of her mother Rose-Ann (Shelley Winters)—and Gordon, who opens her world up to friendship, tolerance and love. Whether it’s saving her from a caterpillar attack, helping her string beads, gallivanting around in a grocery store, teaching Selina how to use a pay phone, navigate through the park or cross the street, Gordon empowers Selina to be independent and happy. She’s white, he’s black. He keeps this information from her and when she finds out the truth she doesn’t care.
Gordon and Selina can’t end up together in the film because this is 1965, and while their relationship pushes boundaries, albeit very lightly, Hollywood wasn’t quite ready for them to be together. The most they can do is share one tender kiss and embrace. There’s some hope that they will be reunited in the future but within the confines of the movie, the best Gordon can do is rescue Selina from her toxic family and send her off to a school for the blind.
I’ve always been frustrated with the movie’s ending and instead imagined an alternate universe where Gordon and Selina can live happily ever after. But in Elizabeth Kata’s 1961 novel, which is the movie is adapted from, the ending in the book is much harsher than in the movie. When Selina discovers Gordon is black she cuts off ties saying they can no longer be friends. At least the movie ending isn’t as devastating as what the original source material has to offer.
In Poitier’s memoir The Measure of a Man , he discusses how he got the role of Gordon Ralfe. He was approached by producer Pandro S. Berman, who had worked with Poitier on the film BLACKBOARD JUNGLE (’55) and thought he’d be perfect for the part. Poitier was struck by the subject matter and the treatment. He called it a “very human story” that was full of “all kinds of interesting possibilities.” At a time when racial tensions in America were high, the film was a bit of a gamble. Poitier said there were many story elements that were avoided to produce a film that made a statement but would also please audiences. He loved working with director Guy Green noting that even before he signed on he got good vibes from him and felt Green would handle the subject matter carefully and with humanity.
It was very important for Poitier that the character of Gordon Ralfe be multifaceted and not one-dimensional. While he didn’t have control over the script, Poitier did raise objections when he felt his character was becoming a stereotype. For his performance, Poitier tapped into emotions that he hadn’t before and became hyperaware of every element of his role and the performances of his fellow actors. In his memoir he said, “I’m not always satisfied with my work in every scene in every picture. But in A PATCH OF BLUE I was coming from a different place, and the performance, by my measurement, was absolutely on target; and I felt that all the way through.”
Poitier’s role in A PATCH OF BLUE has also been highly criticized over the years for playing it safe and presenting a character that was acceptable to white audiences. Gordon Ralfe poses no real threat because he doesn’t sleep with Selina nor does he end up with her. Film historian Donald Bogle, who specializes in African-American cinema, says “Poitier was acceptable for black audiences. He was the paragon of black middle-class values and virtues.” Gordon’s sense of duty, to send Selina off to a school for the blind, supersedes any romantic feelings he has for her thus neutralizing any on screen sexuality.
Had A PATCH OF BLUE been made a few years later would it have been a different movie? Who knows? Poitier dipped a toe into turbulent waters and while he didn’t make a splash, he did open audience’s eyes to new possibilities.
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