BY STEVE OGAH 

Sidney Poitier, the first black American actor to win an Academy Award for best actor in 1994—who died recently at the age of 94—had an enduring influence which reached into Africa. That abiding love for the homeland and mother continent took him to West Africa, precisely Nigeria, in 1957.

One must wonder the cinematic attraction a colonial Nigeria held for a black American. Love of ancestral roots must have also influenced his decision to partake in the filming of The Mark of the Hawk. Poitier’s visit was so monumental that the then-premier of the Eastern Region of the country, Dr. Nnamdi Azikiwe, gave up his official lodge for some scenes in the movie, The Nigeria Nostalgia Project has said.

By the time the great American actor touched down in Lagos, the city had no modern-day cinematic culture of its own comparable with American motion picture tradition. The emerging country was still in the choke holds of British colonial overlords who dictated Nigeria’s cinematic directions. Political independence, indeed, theatrical independence, was still a pipe dream. There were few indigenous actors and motion picture practitioners who could claim the industry as their own. Undeniably, the popular Nigerian actors of the day were the likes of late Chief Hubert Ogunde who would later go on to appear in the 1990 American production, Mister Johnson. This was a film based off Joyce Cary’s 1939 novel of the same title.

Sidney Poitier made an early foray and impact in the country’s movie practice. He was a staple face in Nigerian homes and movie theaters where American movies and screen mannerisms enjoy cult followership. His early presence during pre-independence days meant he was among the earliest-known foreign and black faces in film and video discourse in Nigeria, whom early practitioners could easily identify with. The Bahamian born thespian paid homage to the mother continent in the 1957 movie production by acting out his heart in the land of his ancestors. He had the chance to refuse to partake in the movie as a form of protest and solidarity with Nigeria’s independence agitators. But that wasn’t the case. Rather, he saw a fortuitous opportunity to make a subtle statement that indeed, Nigerians and Africans can also aspire and aim for the big screens which were privileges enjoyed by most white actors of his days. Without doubts, that singular act must have inspired a whole new generation of Nigerian and African actors. He showed uncommon bravery to have visited when his African brethren were still under crippling colonial yoke.

His impact on the country’s movie industry can be assessed in the way local news channels broadcast news of his passing into glory. Culture journalists everywhere knew a great comet had passed far into the depths of the cosmos, never to be seen again. It must be a genuine reflection of his well-earned love and recognition of his gigantic movie achievements, not only in America but across the world. But we take comfort in the great movie roles he took while alive. He was a beacon when the black man and Africa needed one. This was attested to by Denzel Washington when he received his own Oscar for best actor at the 74^th Academy awards in 2002. He was outstanding in his role in Training Day. Here are Washington’s own words while eulogizing Sidney Poitier who was present at the occasion: “Forty years I’ve being chasing Sidney. They finally give it to me.” He went on, “I’ll always be chasing you, Sidney. I’ll always be following in your footsteps. There’s nothing I would rather do, sir.” These words bear testimony to the lofty place of Poitier in American movie history.

Mr. Poitier visited Africa not because he wanted to impress his learning and worldview on the continent. Rather, he visited because he wanted to inspire and encourage. And if the quantum leaps in the Nigerian movie industry means anything at all to the country, then we must conclude that Sidney Poitier deserves to share in the current glory of Nollywood which is ranked the biggest in Africa and one of the largest in the world. He played his vital part in the growth of the industry from early on when few could proudly identify with the mother continent.

What would Poitier’s impression of Nigeria be, were he to visit at this point in time? What views would he have of an industry whose days of infancy he knew just too well? The great actor would have praised current practitioners of the trade, without a doubt. But again, Ambassador Poitier would have turned around to teach them a trick or two about how to be great actors and win an Oscar, under the noses of those who have doubts about the theatrical capacities of the black man.