Sidney Poitier - In The Frame Collection (To Sir With Love/Guess Who's Coming To Dinner/A Raisin in the Sun/Buck and the Preacher/Little Nikita/The Bedford Incident)

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Product Description ------------------- In the Frame is a new collection of DVD box sets celebrating iconic stars of the silver screen, complete with smart new packaging. This deluxe set contains 6 classic films demonstrating the incredible versatility of one of Hollywood’s most celebrated names, Sidney Poitier. Included in this box set are: To Sir With Love Guess Who’s Coming To Dinner A Raisin in the Sun Buck and the Preacher Little Nikita The Bedford Incident From .co.uk ----------- To Sir, with Love Novelist James Clavell wrote, produced, and directed this 1967 British film (based on a novel by E.R. Braithwaite) about a rookie teacher who throws out stock lesson plans and really takes command of his unruly, adolescent students in a London school. Poitier is very good as a man struggling with the extent of his commitment to the job, and even more as a teacher whose commitment is to proffering life lessons instead of academics. The spirit of this movie can be found in such recent films as Dangerous Minds and Mr. Holland's Opus, but none is as moving as this one. Besides, the others don't have a title song performed by pop star Lulu. --Tom Keogh A Raisin in the Sun Lorraine Hansberry's play is given sensitive by filmmaker Daniel Petrie (The Bay Boy). Sidney Poitier heads a fine cast in the story of an African American family in Chicago who are struggling with mixed aspirations, not enough money, conflicts over religion, and institutional racism. The film is pretty much set-bound (as plays adapted for the screen sometimes are), but the drama is intense and moving. --Tom Keogh Guess Who's Coming to Dinner Spencer Tracy's last performance was in this well-meaning, handsome film by Stanley Kramer about a pair of white parents (Tracy and Katharine Hepburn) trying to make sense of their daughter's impending marriage to an African American doctor (Sidney Poitier). The film has been knocked over the years for padding conflict and stoking easy liberalism by making Poitier's character a good catch in every socio-economic sense: But what if Kramer had made this stranger a factory worker? Would the audience still find it as easy to accept a mixed-race relationship? But there's no denying the drawing power of this movie, which gets most of its integrity from the stirring performances of Tracy and Hepburn. When the former (who had been so ill that the production could not get completion insurance) gives a speech toward the end about race, love, and much else, it's impossible not to be affected by the last great moment in a great actor's life and career. --Tom Keogh