This evening, I ventured to the Coolidge Corner Theatre to take in a special screening of The Defiant Ones starring Sidney Poitier and Tony Curtis.
This screening is one of several being shown in homage of Poitier's work along with Lilies in the Field and A Raisin in the Sun.
Following Poitier's passing in 2022, I attended screenings at the Brattle Theatre for Blackboard Jungle and would then spend a weekend watching Guess Who's Coming to Dinner, To Sir, With Love and In the Heat of the Night.
I had viewed all four films previously in TV, but never on the big screen. Although I have long been aware of The Defiant Ones and its basic premise, I had never seen it before.
For those who are unfamiliar with the basic premise of The Defiant Ones, Poitier and Curtis portray two prisoners (Noah Cullen and John "Joker" Jackson) who manage to escape when their truck is involved in an accident but are handcuffed to one another. Indeed, it was a template The Fugitive would follow just over five years later to great success.
Of course, The Fugitive only had one protagonist. In this case, the two protagonists are black and white and do not care for the other. This might be old hat to some and DEI to others, but in 1958 this was a groundbreaking film. Indeed, perhaps a little too groundbreaking. Although it was nominated for 9 Academy Awards including Best Picture and a Best Director nomination for Stanley Kramer (who later directed Poitier in Guess Who's Coming to Dinner), it only won 2 Academy Awards - one for Best Writing for Nedrick Young and Harold J. Smith and Best Cinematography for Sam Leavitt. Gigi, which was nominated for 9 Academy Awards, went 9-for-9 setting a then record for a single film eclipsing Gone with the Wind.
Now, I haven't seen Gigi so I cannot judge it on its merits, but given the subject matter in The Defiant Ones, I suspect most Academy voters thought a light-hearted musical was the safer choice. While Gigi might be a good film in its own right, The Defiant Ones undoubtedly has more staying power.
From where I sit, The Defiant Ones is mainly about bondage and brotherhood. As Cullen and Jackson are chained together, they have no choice but to rely on each other for survival even if they both resent this fact. Yet after their chains are broken, their bond is not. Cullen reluctantly parts ways with Jackson after he forms a romantic bond with a lonely divorcee played by Cara Williams. But when Jackson discovers that the divorcee has sent Cullen to his death by sending him to the swamps, he sacrifices the possibility of freedom and a new life to see that Cullen doesn't meet a fatal fate. It is here that the two become brothers.
Poitier and Curtis would each receive Best Actor nominations but lost out to David Niven for his performance in Separate Tables. Williams earned a Best Supporting Actress nomination but was bested by Wendy Hiller also in Separate Tables. I would be remiss if I did not mention Theodor Bikel also earned a Best Supporting Actor nomination for his portrayal of Sheriff Max Muller. Bikel, too, would not come away with Oscar gold which instead went to Burl Ives in The Big Country.
I would describe Bikel's performance as a lower key version of Rod Steiger's portrayal of Sheriff Bill Gillespie from In the Heat of the Night nearly a decade later. Sheriff Muller is less volatile yet equally determined to find his men. Bikel portrays Muller with a quiet determined dignity. He will do his duty, but he has no thirst for violence.
Speaking of a thirst for violence, perhaps the scene which had the deeply resonance with a 2026 audience was when Cullen and Jackson are caught by residents of a mining town and are nearly lynched by a mob led by a goon played by Claude Akins. Amid this, Jackson demands to know why they would lynch a white man as if to invoke privilege he did not have the luxury of having. However, the mob is stopped singlehandedly by Big Sam played by of all people, horror movie legend Lon Chaney, Jr. Big Sam dares the town folk to lynch the pair by shaming them with a knife, a rope and a torch. With all that has happened in Minneapolis, we need all the Big Sams we can find.
The Defiant Ones is not only an important part of not only Sidney Poitier's legacy, but among the earliest American films to confront the ugliness of racism in a meaningful way.
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