As good a screen performance from Elizabeth Hartman as any you will come across. Innocence, generosity and kindness clashing against prejudice, abuse and ignorance - an all too familiar story, even today. Sidney Poitier isn't too bad either, in fact he's as outstanding as ever. If you have an ounce of compassion left after the numbing effect of this uncaring, selfish and polarising world, then let this film take hold of it and grow it - it will start to reinstate something that has been gradually chiselled away for far too long - hope!
109 Reviews
Color blind
jotix10026 January 2006
"A Patch of Blue" was perhaps the best film in which Elizabeth Hartman appeared. In fact, this was the movie in which the young actress made her movie debut. Guy Green, the director, took quite a chance when he entrusted Ms. Hartman to play such an important role. Unfortunately, her career didn't do much for her as it appears Hollywood forgot her and she was relegated to do television work. In fact, Ms. Hartman only made six full length movies, when she deserved to have been seen more.
The story of "A Patch of Blue" is about how blind we humans are. Yes, Selina is blind, but she sees people as they really are. This abused young woman is more intelligent than she is given credit for. She might not have the use of her eyesight, yet she recognizes kindness when it comes her way without making judgment on the only true friend she encounters in her life.
Gordon, the nice black man who stumbles upon Selina in the park, is amazed how no one has ever paid attention to her. Clearly, he sees the potential the young woman possesses and he is determined to help her in whatever way he can. Selina, on the other hand, couldn't care less what color Gordon is because she has seen beauty in the way he tries to give her the chance in life her own mother didn't bother to get.
Rose-Ann, the mother is only interested in her own needs. She is a sad woman who is saddled by a daughter that she sees as a burden, yet, she is the one that caused the blindness because of her careless actions. Rose-Ann is a prejudiced woman who judges Gordon too quickly without even investigating how he is trying to help Selina.
The film will not disappoint. Ms. Hartman did an excellent contribution to a film despite her inexperience. Sidney Poitier made a sympathetic Gordon real. Shelley Winters, who won the Oscar for this film doesn't have much to do, and even though she does good work, one has to be leery of those Academy members that voted her the best supporting actress of that year when she deserved accolades for many other excellent contributions to films she did before this one.
"A Patch of Blue" owes a great deal to its director, Guy Green, who fought to make the film and for having Elizabeth Hartman in it.
The story of "A Patch of Blue" is about how blind we humans are. Yes, Selina is blind, but she sees people as they really are. This abused young woman is more intelligent than she is given credit for. She might not have the use of her eyesight, yet she recognizes kindness when it comes her way without making judgment on the only true friend she encounters in her life.
Gordon, the nice black man who stumbles upon Selina in the park, is amazed how no one has ever paid attention to her. Clearly, he sees the potential the young woman possesses and he is determined to help her in whatever way he can. Selina, on the other hand, couldn't care less what color Gordon is because she has seen beauty in the way he tries to give her the chance in life her own mother didn't bother to get.
Rose-Ann, the mother is only interested in her own needs. She is a sad woman who is saddled by a daughter that she sees as a burden, yet, she is the one that caused the blindness because of her careless actions. Rose-Ann is a prejudiced woman who judges Gordon too quickly without even investigating how he is trying to help Selina.
The film will not disappoint. Ms. Hartman did an excellent contribution to a film despite her inexperience. Sidney Poitier made a sympathetic Gordon real. Shelley Winters, who won the Oscar for this film doesn't have much to do, and even though she does good work, one has to be leery of those Academy members that voted her the best supporting actress of that year when she deserved accolades for many other excellent contributions to films she did before this one.
"A Patch of Blue" owes a great deal to its director, Guy Green, who fought to make the film and for having Elizabeth Hartman in it.
Sensitive portrayal by Elizabeth Hartman
spompermayer31 October 2000
A very well-cast film version of Elizabeth Kata's novel. Jerry Goldsmith's score blends beautifully with the film's poignancy. Outstanding debut by the late Elizabeth Hartman; she is unforgettable as the blind Selina D'Arcy. Poitier is terrific as the insightful Gordon, and Shelley Winters gives a blistering portrayal as Selina's abusive, bigoted mother (Winters won Best Supporting Oscar).
A Patch of Excellence.
tfrizzell26 July 2002
One of those genuinely moving and emotional films that toes the line to excellence and almost succeeds. Young Elizabeth Hartman (Oscar-nominated) is blind and has been a part of a household where she has been treated like a second-rate stranger and outcast by her cold mother (Shelley Winters is a smashing Oscar-winning turn). One day Hartman meets professional businessman Sidney Poitier in the local park and they become quick friends as Hartman is treated with love and respect by Poitier while Hartman's handicap means she does not know that Poitier is really African-American. Two pure hearts are able to overcome the cruelty of others in this fine American motion picture that is well worth one's time. It is one of the better films of the 1960s. Sidney Poitier was at the top of his career here. 4.5 out of 5 stars.
Very emotional
sugar-bear29 November 2004
I love this movie so much. I bought the DVD and I can't seem to stop watching it. The acting by the superb cast and the plot is what makes this movie stand out from many other good movies. Guy Green did an awesome job picking the cast.
SIDNEY POITIER:Sidney does a great job as Gordon Ralfe. An African-American business man who lives with his brother, Mark and tries to live an ordinary life. He is also a compassionate man who has a giving heart and doesn't judge everyone.
ELIZABETH HARTMAN:I think Elizabeth Hartman's performance is what makes me want to keep watching it over and over again. Hartman plays soft spoken Selina D'Arcy. Accidentally blinded as a child, Selina learns how to deal with life despite having not been taught very much. Selina only knows how to do the house chores and is used to the constant abuse by her mother and grandfather which whom she lives with. Selina is as fragile and naive as a small child. Although blind, Selina doesn't let that get in the way. Visits to the park and her small job of beading necklaces are how she and Gordon(Poitier)actually meet. Hartman's performance is the rare gem of it all.
SHELLY WINTERS:I didn't really like Winters in this role. But because she played it so well....I can say that I liked it. Winters plays Rose-Ann D'Arcy, a middle aged, foul mouthed prostitute who's also Selina's mother. It is her fault that Selina is blind. Her fault that Selina was raped and her fault that life is the way it is for Selina. But Rose-Ann doesn't care about anyone but herself. She bad mouths her own father and physically abuses Selina. She has a short temper and makes money the best way she knows how. She apparently makes life a living hell for almost everyone.
The love Selina has for Gordon is as pure and heart warming as true love can get. I don't normally like romance movies but this movie is far from that. It's a story of the love two people from different worlds have for each other and let nothing get in the way. I LOVE IT!!!
SIDNEY POITIER:Sidney does a great job as Gordon Ralfe. An African-American business man who lives with his brother, Mark and tries to live an ordinary life. He is also a compassionate man who has a giving heart and doesn't judge everyone.
ELIZABETH HARTMAN:I think Elizabeth Hartman's performance is what makes me want to keep watching it over and over again. Hartman plays soft spoken Selina D'Arcy. Accidentally blinded as a child, Selina learns how to deal with life despite having not been taught very much. Selina only knows how to do the house chores and is used to the constant abuse by her mother and grandfather which whom she lives with. Selina is as fragile and naive as a small child. Although blind, Selina doesn't let that get in the way. Visits to the park and her small job of beading necklaces are how she and Gordon(Poitier)actually meet. Hartman's performance is the rare gem of it all.
SHELLY WINTERS:I didn't really like Winters in this role. But because she played it so well....I can say that I liked it. Winters plays Rose-Ann D'Arcy, a middle aged, foul mouthed prostitute who's also Selina's mother. It is her fault that Selina is blind. Her fault that Selina was raped and her fault that life is the way it is for Selina. But Rose-Ann doesn't care about anyone but herself. She bad mouths her own father and physically abuses Selina. She has a short temper and makes money the best way she knows how. She apparently makes life a living hell for almost everyone.
The love Selina has for Gordon is as pure and heart warming as true love can get. I don't normally like romance movies but this movie is far from that. It's a story of the love two people from different worlds have for each other and let nothing get in the way. I LOVE IT!!!
Simply Blows Away the Best Actress Competition
aimless-4622 March 2005
Warning: Spoilers
It took me almost 40 years to finally see "A Patch of Blue". It was promoted as the kind of trendy, raise your social consciousness movie that I avoid like the plague. The mid-sixties was full of this kind of moralizing political stuff, as the country finally began to wake up to the embarrassing social inequities and the hypocrisy that hung over everything like a cloud of poison gas. The older half of the baby boomer generation was beginning to question the fear and hate of their parents, and Hollywood was beginning to discover that this had exploitation potential. Most of these things were moronic at the time and have not improved with age.
Ironically, what led to my finally viewing this film was watching Catherine Deneuve in another film from 1965; Polanski's "Repulsion". Writing a review of that film I lamented the failure of the Academy to nominate Deneuve for Best Actress and Polanski for Best Director. Whatever was thought then about the films and performances actually nominated, in retrospect they pale in comparison to "Repulsion". No one even gives a thought anymore to "Darling" or "Ship of Fools", "Doctor Zhivago" is more big that it is good, and Julie Andrews was great in a very weak movie (but decent musical). While "A Thousand Clowns" and "The Collector"-with Samantha Eggar, are good cult films, they are easy to dismiss.
But when I got to Elizabeth Hartman's nomination for "A Patch of Blue" I realized that I knew very little about her or the performance, having dismissed it as just a reprise of Patty Duke's performance in "The Miracle Worker". I became more intrigued when I discovered that Hartman was the actress who blew me away in "The Beguiled", so I picked up a copy of the 2.35x1 aspect ratio DVD of "Patch of Blue". I was surprised to find that a film with the name of a color in its title had been shot in black and white. And for anyone thinking about getting this DVD, it was transferred to DVD from one of the cleanest prints (or maybe from the original MGM negative)I have ever seen-the detail and contrasts are as good as they must have been when it was first printed 40 years ago.
After seeing "Patch of Blue" I still made my case for "Repulsion", but qualified it by saying only Hartman's performance was in the same class as that of Deneuve. Which was quite a concession for me but both performances are truly wonderful.
As for "Patch of Blue", I found it absolutely amazing-close to perfection. There were so many places where Guy Green could have screwed it up and he neatly avoided them all.
The director is presented with a real problem when deciding how to film an actor playing a blind person. Tight shots on the eyes are what makes acting for the camera so special. Unfortunately the unfocused eyes of a blind person cannot convey much emotion, in fact anything but a blank stare betrays the blind illusion. So Guy Green had to get a verbal and body language performance out Hartman that compensated for not being able to use tight shots, and Hartman had to work at not just playing a complex character but also at maintaining the illusion that she was blind. All her scenes are excellent but she has three that are especially memorable.
The first is at the kitchen table where she casually discusses being raped with Gordon. Her matter-of-fact narration plays perfectly with Poitier's horrified reaction (which of course she can't see).
The second is after a stranger has helped her back to the apartment from her terrifying failed attempt to find the park by herself. In a few minutes she ranges from despair so deep it verges on madness, to extreme gratitude toward the boy who brings her a message, to giddy joy at the realization that Gordon cares enough about her to send someone to see what has happened to her. Hartman plays all parts of the scene convincingly-I wonder if they shot it all the same day or if Green shot each sequence separately.
The third scene (and my personal favorite) is when she is alone in the park and it starts to rain. If someone told me of the challenges posed by this scene, I would not have given it much chance of success, yet Green pulls it off and Hartman is absolutely believable. The is the scene where you first really connect to Selena's fear and isolation, because by this time you know and identify with the character. Absolutely amazing.
Here is a little Elizabeth Hartman trivia. After Patty Duke turned down the role because of type-casting concerns and Hayley Mills for financial reasons (what a disaster that would have been), they tested 150 unknowns and choose the 22 year old Hartman. "I believe I was lacking the things they wanted an actress to lack," Hartman told Sidney Skolsky when he made her the subject of one of his "Tintypes" profiles. After meeting her Slolsky said: "She is shy, timid. She sleeps in a normal-size bed in sleeveless nightgowns. She always takes her Raggedy-Ann doll to bed with her." Prior to Oscar night Hartman, who still lived in Youngstown with her mother, commented "I'm just waiting for someone to offer me a part in a picture or a play. I'm climbing the walls, as a matter of fact". MGM did not use her picture in their Oscar ads for her but used a sight gag, a pair of sunglasses in a Price Waterhouse envelope.
Ironically, what led to my finally viewing this film was watching Catherine Deneuve in another film from 1965; Polanski's "Repulsion". Writing a review of that film I lamented the failure of the Academy to nominate Deneuve for Best Actress and Polanski for Best Director. Whatever was thought then about the films and performances actually nominated, in retrospect they pale in comparison to "Repulsion". No one even gives a thought anymore to "Darling" or "Ship of Fools", "Doctor Zhivago" is more big that it is good, and Julie Andrews was great in a very weak movie (but decent musical). While "A Thousand Clowns" and "The Collector"-with Samantha Eggar, are good cult films, they are easy to dismiss.
But when I got to Elizabeth Hartman's nomination for "A Patch of Blue" I realized that I knew very little about her or the performance, having dismissed it as just a reprise of Patty Duke's performance in "The Miracle Worker". I became more intrigued when I discovered that Hartman was the actress who blew me away in "The Beguiled", so I picked up a copy of the 2.35x1 aspect ratio DVD of "Patch of Blue". I was surprised to find that a film with the name of a color in its title had been shot in black and white. And for anyone thinking about getting this DVD, it was transferred to DVD from one of the cleanest prints (or maybe from the original MGM negative)I have ever seen-the detail and contrasts are as good as they must have been when it was first printed 40 years ago.
After seeing "Patch of Blue" I still made my case for "Repulsion", but qualified it by saying only Hartman's performance was in the same class as that of Deneuve. Which was quite a concession for me but both performances are truly wonderful.
As for "Patch of Blue", I found it absolutely amazing-close to perfection. There were so many places where Guy Green could have screwed it up and he neatly avoided them all.
The director is presented with a real problem when deciding how to film an actor playing a blind person. Tight shots on the eyes are what makes acting for the camera so special. Unfortunately the unfocused eyes of a blind person cannot convey much emotion, in fact anything but a blank stare betrays the blind illusion. So Guy Green had to get a verbal and body language performance out Hartman that compensated for not being able to use tight shots, and Hartman had to work at not just playing a complex character but also at maintaining the illusion that she was blind. All her scenes are excellent but she has three that are especially memorable.
The first is at the kitchen table where she casually discusses being raped with Gordon. Her matter-of-fact narration plays perfectly with Poitier's horrified reaction (which of course she can't see).
The second is after a stranger has helped her back to the apartment from her terrifying failed attempt to find the park by herself. In a few minutes she ranges from despair so deep it verges on madness, to extreme gratitude toward the boy who brings her a message, to giddy joy at the realization that Gordon cares enough about her to send someone to see what has happened to her. Hartman plays all parts of the scene convincingly-I wonder if they shot it all the same day or if Green shot each sequence separately.
The third scene (and my personal favorite) is when she is alone in the park and it starts to rain. If someone told me of the challenges posed by this scene, I would not have given it much chance of success, yet Green pulls it off and Hartman is absolutely believable. The is the scene where you first really connect to Selena's fear and isolation, because by this time you know and identify with the character. Absolutely amazing.
Here is a little Elizabeth Hartman trivia. After Patty Duke turned down the role because of type-casting concerns and Hayley Mills for financial reasons (what a disaster that would have been), they tested 150 unknowns and choose the 22 year old Hartman. "I believe I was lacking the things they wanted an actress to lack," Hartman told Sidney Skolsky when he made her the subject of one of his "Tintypes" profiles. After meeting her Slolsky said: "She is shy, timid. She sleeps in a normal-size bed in sleeveless nightgowns. She always takes her Raggedy-Ann doll to bed with her." Prior to Oscar night Hartman, who still lived in Youngstown with her mother, commented "I'm just waiting for someone to offer me a part in a picture or a play. I'm climbing the walls, as a matter of fact". MGM did not use her picture in their Oscar ads for her but used a sight gag, a pair of sunglasses in a Price Waterhouse envelope.
One of the best movies ever made...it will touch your soul.
kchiefs111 November 2020
I remember the first time I watched this, I must have been around 14 & it still resonates with me. I'm 60 now & it still brings a tear. I guess I'll always love Sidney Poitier because of this movie. It doesn't make sense because I'm a straight white guy with conservative values. But I'm a human & this movie makes you feel human.
I just watched it on TCM again for probably the 50th time & it still brings out every emotion. I swear I cry every time I watch it & I know I'm going to cry but it's such a great movie. I could tell you how fantastic Poitier is or how Shelley Winters will make you so angry or how much you will fall in love with Elizabeth Hartman but there are others who can tell you that better than me.
I just wanted someone out there who is looking to watch a great movie but has doubts because it's about race relations or it's in black & white instead of color, that to give it a viewing next time it's on TCM. You won't regret it.
If you are kinda sensitive & don't like crying in front of someone, watch it alone. It will be a cry that is worthwhile.
One of my all-time favorites.
10/10
I just watched it on TCM again for probably the 50th time & it still brings out every emotion. I swear I cry every time I watch it & I know I'm going to cry but it's such a great movie. I could tell you how fantastic Poitier is or how Shelley Winters will make you so angry or how much you will fall in love with Elizabeth Hartman but there are others who can tell you that better than me.
I just wanted someone out there who is looking to watch a great movie but has doubts because it's about race relations or it's in black & white instead of color, that to give it a viewing next time it's on TCM. You won't regret it.
If you are kinda sensitive & don't like crying in front of someone, watch it alone. It will be a cry that is worthwhile.
One of my all-time favorites.
10/10
"It's wonderful to have a friend."
classicsoncall25 April 2019
Warning: Spoilers
"A Patch of Blue" is a poignantly emotional and inspiring movie at the same time. While watching for the first time the other day, I tried placing myself back to 1965 when the picture was released to get a sense of racial relations in the country at the time. Living in New York, those relations weren't as stressful as they still remained in the South, but still enough to cause some unease with audiences I imagine. The young Selina D'Arcey (Elizabeth Hartman), blind from the age of five, is befriended by a middle aged black man while strolling through the park and noticing that she needed some help. Their relationship evolves to the point where Selina mistakenly (in my opinion) believes she's fallen in love with Gordon Ralfe (Sidney Poitier). Gordon is noble in his effort to help Selina persevere beyond her white trash family background, even as his brother Mark (Ivan Dixon) attempts to dissuade him.
More than anything, I feel the picture makes a credible case for being intentionally blind to the color of another person's skin. In Selina's case, she couldn't help it, and in the absence of any other distinguishing characteristics, could not tell that Gordon was a black man. It's always been my belief that if people from an early enough age were left to their own devices, would grow to be tolerant of other races, ethnicities and religions if not influenced by older members of their family and community already inured to prejudice and bigotry. I know, wishful thinking on my part, but all you have to do is consider, as in Selina's case, how she managed to enjoy having a nine year old playmate who was black when she was the same age. Only to have that interrupted by a bigoted, hateful mother who cared only about herself and the opinions of her similarly indoctrinated associates.
Sidney Poitier established quite the early career for himself with defining roles in such disparate films as "The Defiant Ones" (1958), "Lilies of the Field' (1963), "In the Heat of the Night" (1967), and "Guess Who's Coming to Dinner" (1967). Each of these pictures tackled the subject of racism and black and white relationships in a wide range of circumstances, all to critical acclaim. Having just seen "A Patch of Blue", I can readily add this film to that enviable list of pictures I'd recommend viewing.
More than anything, I feel the picture makes a credible case for being intentionally blind to the color of another person's skin. In Selina's case, she couldn't help it, and in the absence of any other distinguishing characteristics, could not tell that Gordon was a black man. It's always been my belief that if people from an early enough age were left to their own devices, would grow to be tolerant of other races, ethnicities and religions if not influenced by older members of their family and community already inured to prejudice and bigotry. I know, wishful thinking on my part, but all you have to do is consider, as in Selina's case, how she managed to enjoy having a nine year old playmate who was black when she was the same age. Only to have that interrupted by a bigoted, hateful mother who cared only about herself and the opinions of her similarly indoctrinated associates.
Sidney Poitier established quite the early career for himself with defining roles in such disparate films as "The Defiant Ones" (1958), "Lilies of the Field' (1963), "In the Heat of the Night" (1967), and "Guess Who's Coming to Dinner" (1967). Each of these pictures tackled the subject of racism and black and white relationships in a wide range of circumstances, all to critical acclaim. Having just seen "A Patch of Blue", I can readily add this film to that enviable list of pictures I'd recommend viewing.
Impressive performances by Poitier and Hartman
vincentlynch-moonoi6 June 2013
Warning: Spoilers
What was there about Sidney Poitier. What was it that made him a standout star among Black and White audiences, at a time when almost nobody else achieved that. This film was not among his first, but it was one of those (also, like "Lilies Of The Field" and "To Sir, With Love") that began to establish him as a true movie star, although I would say it took "Guess Who's Coming To Dinner" to cement his position among the top tier of actors. And deservedly so. It's very difficult to be critical of his performance here.
This was probably Elizabeth Hartman's most honored performance in her short career. It's got to be a challenge to portray a blind person as convincingly as she does here...and without flaw.
Shelly Winters has a thankless role here, and I'm not sure quite how to react to it. Some here have said that in this role she is one-dimensional, and that may be true. A little better is Wallace Ford as the grandfather...an alcholic to perfection. And, it's interesting to see Ivan Dixon in something other than "Hogan's Heroes".
I can't say that this is one of my favorite films, but it is one that impresses me. Thank God for Sidney Poitier!
This was probably Elizabeth Hartman's most honored performance in her short career. It's got to be a challenge to portray a blind person as convincingly as she does here...and without flaw.
Shelly Winters has a thankless role here, and I'm not sure quite how to react to it. Some here have said that in this role she is one-dimensional, and that may be true. A little better is Wallace Ford as the grandfather...an alcholic to perfection. And, it's interesting to see Ivan Dixon in something other than "Hogan's Heroes".
I can't say that this is one of my favorite films, but it is one that impresses me. Thank God for Sidney Poitier!
Black and White relationships filmed in glorious black and white.
mark.waltz18 August 2012
Warning: Spoilers
A young blind girl (Elizabeth Hartman) finds out the truth about who is really blind in this social drama where color schemes mean nothing to her, even though she was raised by an extremely racist mother. She doesn't know green, only blue as the color of the sky, one of her few memories of when she had vision. Her world with hateful mama Shelley Winters is made a little nicer when a kind black man (Sidney Poitier) befriends her in the park. Portier's worldly young man is the perfect example of a heart as big as all outdoors.
Sometimes certain movies touch you so deeply that memories of them resonate as a childhood into adulthood. This is one of them for me, one of the few adult movies my parents had me watch as a child to teach me the absurdities of racism and what it was really all about. I also remembered, more sweetly, the oddly shaped cannister of pineapple juice Poitier gave to Hartman, as well as the beads she strung together to make a living, and the joy he brought to her by just spending most of his free time with her. I also distinctly remembered the evil character Winters portrayed, a far cry from some of the obnoxious but basically decent characters she had already created. One of the best actresses of the 50's and 60's who bravely unleashed the soul of a woman who should never have been a mother, Winters would remain the epitome of the mother from hell, only equaled recently by Monique in "Precious". She is basically "Mommie Dearest" on acid.
Veteran actor Wallace Ford is excellent in the pathetic role of Winters' drunken father, a man who obviously hates his daughter so much yet has little compassion for the granddaughter who adores him. If Winters wasn't blowzy enough, there's Elisabeth Fraser as her equally nasty friend. Those two women together are a double dose of hatred, a 60's version of Hitler and Mussolini. With 30's veteran stars Ann Sothern and Joan Blondell playing nicer versions of these types of characters, it is very interesting to see the antithesis of them here.
Hartman's explosion out of frustration is a chilling scene, as is the fight scene when Winters sees Poitier and Hartman together. She gets into a fight with Hartman that leads into a throwing match with Ford that has a humorous and ironic conclusion. The public reaction to Winters' confrontation with Poitier in the park is priceless. While I would have preferred that the relationship between Poitier and Hartman be one of understanding devoted friends, I came to accept Hartman's growing love for Poitier (and vice versa) as one they couldn't control.
Sometimes certain movies touch you so deeply that memories of them resonate as a childhood into adulthood. This is one of them for me, one of the few adult movies my parents had me watch as a child to teach me the absurdities of racism and what it was really all about. I also remembered, more sweetly, the oddly shaped cannister of pineapple juice Poitier gave to Hartman, as well as the beads she strung together to make a living, and the joy he brought to her by just spending most of his free time with her. I also distinctly remembered the evil character Winters portrayed, a far cry from some of the obnoxious but basically decent characters she had already created. One of the best actresses of the 50's and 60's who bravely unleashed the soul of a woman who should never have been a mother, Winters would remain the epitome of the mother from hell, only equaled recently by Monique in "Precious". She is basically "Mommie Dearest" on acid.
Veteran actor Wallace Ford is excellent in the pathetic role of Winters' drunken father, a man who obviously hates his daughter so much yet has little compassion for the granddaughter who adores him. If Winters wasn't blowzy enough, there's Elisabeth Fraser as her equally nasty friend. Those two women together are a double dose of hatred, a 60's version of Hitler and Mussolini. With 30's veteran stars Ann Sothern and Joan Blondell playing nicer versions of these types of characters, it is very interesting to see the antithesis of them here.
Hartman's explosion out of frustration is a chilling scene, as is the fight scene when Winters sees Poitier and Hartman together. She gets into a fight with Hartman that leads into a throwing match with Ford that has a humorous and ironic conclusion. The public reaction to Winters' confrontation with Poitier in the park is priceless. While I would have preferred that the relationship between Poitier and Hartman be one of understanding devoted friends, I came to accept Hartman's growing love for Poitier (and vice versa) as one they couldn't control.
A PATCH OF BLUE (Guy Green, 1965) ***
Bunuel197617 February 2014
This is another film I missed out on countless times over the years before acquiring it, and I now chose to watch it during this year's Oscar season, since it emerged the winner of the Best Supporting Actress statuette for Shelley Winters' typically raucous performance; interestingly, though billed after her, Elizabeth Hartman was nominated in the Best Actress category (but she is clearly the protagonist here, even more so than nominal lead Sidney Poitier)! While it received three other well-deserved nods for Robert Burks' expressive cinematography (in monochrome and widescreen), Jerry Goldsmith's beautiful score (perhaps more than the movie was worthy of!) and the art direction/set decoration, it is telling that this fared rather better at the Golden Globes (despite Winters herself not being nominated!) – where Hartman won for Most Promising Newcomer and the picture itself, Poitier and Guy Green for both script and direction also got recognition.
The narrative involves an uneducated blind girl (also emotionally abused by her mother and perennially drunk grandfather Wallace Ford) being befriended by an erudite black man she meets at the park. While he consciously keeps a step back, knowing his colour might ultimately prove a problem to their relationship, she falls hard for him since no such attention was ever lended to her before (other than by a black girl friend, whom she was then prevented from seeing anymore by her slutty, racist mom). Flashbacks are effectively interspersed portraying the heroine's sexual assault by a client of her mother's and the tragic childhood accident (caused by Winters herself) that left Hartman deprived of her eyesight. As can be gleaned from this plot line, the film is melodrama with all the stops out – yet the handling is reasonably sensitive throughout, especially in Poitier's patient nurturing of Hartman, which eventually sees her attain independence and even enlist for proper schooling; for the actor, this was something of a dry run for the more popular GUESS WHO'S COMING TO DINNER (1967).
Following a distinguished career as a cinematographer (being rewarded with an Oscar for lensing David Lean's GREAT EXPECTATIONS {1946}), Green's directorial output started off modestly but gradually grew in stature and respect; he demonstrated a particular affinity with 'social problem' dramas: apart from the film under review (typical of this era in cinema, the meaning of its retitling from the source material is only casually referenced!), he dealt with the stigmas society places on being a sex offender and mental health in THE MARK (1961) and LIGHT IN THE PIAZZA (1962; another movie I ought to get down and watch one of these days) respectively.
The narrative involves an uneducated blind girl (also emotionally abused by her mother and perennially drunk grandfather Wallace Ford) being befriended by an erudite black man she meets at the park. While he consciously keeps a step back, knowing his colour might ultimately prove a problem to their relationship, she falls hard for him since no such attention was ever lended to her before (other than by a black girl friend, whom she was then prevented from seeing anymore by her slutty, racist mom). Flashbacks are effectively interspersed portraying the heroine's sexual assault by a client of her mother's and the tragic childhood accident (caused by Winters herself) that left Hartman deprived of her eyesight. As can be gleaned from this plot line, the film is melodrama with all the stops out – yet the handling is reasonably sensitive throughout, especially in Poitier's patient nurturing of Hartman, which eventually sees her attain independence and even enlist for proper schooling; for the actor, this was something of a dry run for the more popular GUESS WHO'S COMING TO DINNER (1967).
Following a distinguished career as a cinematographer (being rewarded with an Oscar for lensing David Lean's GREAT EXPECTATIONS {1946}), Green's directorial output started off modestly but gradually grew in stature and respect; he demonstrated a particular affinity with 'social problem' dramas: apart from the film under review (typical of this era in cinema, the meaning of its retitling from the source material is only casually referenced!), he dealt with the stigmas society places on being a sex offender and mental health in THE MARK (1961) and LIGHT IN THE PIAZZA (1962; another movie I ought to get down and watch one of these days) respectively.
Excellent Movie... One of My Favorites
vs66196623 January 2006
Warning: Spoilers
I just saw this again on TCM tonight. It's one of my favorite movies (if not THE favorite) and I never tire of watching it.
Elizabeth Hartman should have won the Oscar for her role as Selina D'Arcy. Sidney Poitier is excellent, as usual, in the role of Gordon Ralfe. Shelley Winters portrays Rose-Ann D'Arcy, Selina's mother, who is such a white-trash evil slut. Ms. Winters' portrayal makes you HATE Rose-Ann... you just want to smack her! Wallace Ford plays Ole Pa, Rose-Ann's drunken father. Ivan Dixon plays Mark Ralfe, Gordon's brother. Elisabeth Frasier plays Sadie, Rose-Ann's white-trash slut friend.
It's great to see the friendship and love develop between Selina and Gordon as well as Selina's growing strength and independence due to Gordon's involvement in her life.
***Movie Ending Spoiler***
Gordon helps locate a school for the blind for Selina. They are in his apartment when the driver comes to take Selina to the school. Gordon asks Selina if she wants him to escort her and the driver to the awaiting bus, but she says no because she doesn't want to have to say goodbye again. After she leaves he notices the music box he gave to her (it belonged to Gordon's mother) and he tries to reach her before the bus pulls away, but he's too late. He then goes back into his apartment building with the music box. The ending is bittersweet in that the viewer knows that Selina will now have the chance at a better life. There's also the hope that Gordon will visit Selina and give her the music box and, more important, that perhaps they will continue to see each other and possibly marry someday. The ending is realistic and not a true "happy ending" where everything is neatly tied up.
For me, this movie also has such a special place in my heart because actress Elizabeth Hartman herself apparently was a tortured, sensitive soul (having dealt with depression and then committing suicide in 1987). It's so sad and tragic, especially since she was such a gifted actress. She could have made many more movies. I think her performances, but especially this role, always touch viewers in a special way. Her sensitive, naive and endearing portrayal of Selina make this movie special.
A Patch of Blue is a true gem. There's no other movie like it! 10/10 Stars.
Elizabeth Hartman should have won the Oscar for her role as Selina D'Arcy. Sidney Poitier is excellent, as usual, in the role of Gordon Ralfe. Shelley Winters portrays Rose-Ann D'Arcy, Selina's mother, who is such a white-trash evil slut. Ms. Winters' portrayal makes you HATE Rose-Ann... you just want to smack her! Wallace Ford plays Ole Pa, Rose-Ann's drunken father. Ivan Dixon plays Mark Ralfe, Gordon's brother. Elisabeth Frasier plays Sadie, Rose-Ann's white-trash slut friend.
It's great to see the friendship and love develop between Selina and Gordon as well as Selina's growing strength and independence due to Gordon's involvement in her life.
***Movie Ending Spoiler***
Gordon helps locate a school for the blind for Selina. They are in his apartment when the driver comes to take Selina to the school. Gordon asks Selina if she wants him to escort her and the driver to the awaiting bus, but she says no because she doesn't want to have to say goodbye again. After she leaves he notices the music box he gave to her (it belonged to Gordon's mother) and he tries to reach her before the bus pulls away, but he's too late. He then goes back into his apartment building with the music box. The ending is bittersweet in that the viewer knows that Selina will now have the chance at a better life. There's also the hope that Gordon will visit Selina and give her the music box and, more important, that perhaps they will continue to see each other and possibly marry someday. The ending is realistic and not a true "happy ending" where everything is neatly tied up.
For me, this movie also has such a special place in my heart because actress Elizabeth Hartman herself apparently was a tortured, sensitive soul (having dealt with depression and then committing suicide in 1987). It's so sad and tragic, especially since she was such a gifted actress. She could have made many more movies. I think her performances, but especially this role, always touch viewers in a special way. Her sensitive, naive and endearing portrayal of Selina make this movie special.
A Patch of Blue is a true gem. There's no other movie like it! 10/10 Stars.
Good Movie
djmes10 July 2017
This is a very good movie. "A Patch of Blue" with Sidney Poitier,1965. I usually can't get into tearjerkers but this one was really good. Poitier befriends then falls in love with a neglected and abused blind girl. His being black complicates matters. Poitier is great in an (for him) understated role. Black & white photography actually adds to the feeling. Try & catch this.
a total fantasy
bobn42523 February 2015
have to agree with review by bgh48, this is one total fantasy Cinderella is more believable. this young woman sits in the park alone all day and nothing at all ever happens to her? she doesn't know about the public restroom, so how does she survive? she does..both bodily functions behind a tree? in public? how does she clean up? Her new friend brings her pineapple juice and she guzzles it down? how does she survive all day with nothing to drink? how is it that no law enforcement officer has ever noticed this pathetic creature sitting alone all day? since when do blind people get around by simply waving their hands in front of them? how about getting her a cane or a seeing eye dog? I could go on endlessly...this is an insane fairy tale. It made my cry too...to see something this ridiculous.
A great film...touching and thought provoking
EmAn12134 May 2004
"A Patch of Blue" is a wonderful film which works on at least two levels: a romance and a social commentary. Unlike most romances, it manages to be touching without being melodramatic, and unlike most social commentaries, it subtly makes its points without manipulation or a hidden agenda.
It is the story of how Selina, a blind girl who is verbally and sometimes physically abused by her mother, discovers her independence with the help of a young, black professional, Gordon. Selina's entire life has been spent alone and indoors. She has not learned how to read Braille or how to get around on her own. She basically does not know how to live independently. She meets Gordon in the park one day, and he essentially begins to teach her how to live. A warm and trusting friendship develops. The obvious complication from their relationship is the fact that Selina's mother is a racist, and Selina does not know that Gordon is black.
Both characters are wonderful: Gordon is cautious but intrigued, knowing he is walking on dangerous ground. Selina is comically naive and eager with an unbreakable spirit.
If you get a chance, watch this movie! It is inspiring and is one of those rare films that actually makes you think.
It is the story of how Selina, a blind girl who is verbally and sometimes physically abused by her mother, discovers her independence with the help of a young, black professional, Gordon. Selina's entire life has been spent alone and indoors. She has not learned how to read Braille or how to get around on her own. She basically does not know how to live independently. She meets Gordon in the park one day, and he essentially begins to teach her how to live. A warm and trusting friendship develops. The obvious complication from their relationship is the fact that Selina's mother is a racist, and Selina does not know that Gordon is black.
Both characters are wonderful: Gordon is cautious but intrigued, knowing he is walking on dangerous ground. Selina is comically naive and eager with an unbreakable spirit.
If you get a chance, watch this movie! It is inspiring and is one of those rare films that actually makes you think.
A Patch of Blue brings fine performances from Sidney Poitier, Elizabeth Hartman, and Shelley Winters
tavm19 February 2011
Continuing the reviews of African-Americans in film in chronological order for Black History Month, we're now at 1965 when Sidney Poitier stars as Gordon Ralfe in this movie about his mentoring a poor blind young woman whom he meets one day when she comes to the park for the first time. Her name is Selina D'Arcey (Elizabeth Hartman) and she has had to endure an abusive relationship with her mother Rose-Ann (Shelley Winters) and an alcoholic grandfather known as Old Pa (Wallace Ford). When she comes with Gordon to his apartment, his brother Mark (Ivan Dixon) warns him about the ramifications if anyone sees them though Gordon doesn't think he's that serious about her. I'll stop there and just say this was a very touching story handled sensitively by Poitier and Ms. Hartman. And Ms. Winters deserves her Oscar for making Rose-Ann such a hard woman to like though occasionally she does provide some humorous moments too. And after previously seeing Dixon as both Joseph Asagai in Poitier's A Raisin in the Sun and Duff Anderson in Nothing But a Man, he gives another fine performance here especially when he and Poitier are discussing the pros and cons of what Ms. Hartman's presence means in their apartment. One more thing I'd like to praise is Jerry Goldsmith's score. Such beautiful music! So on that note, A Patch of Blue is highly recommended.
Rainbows all over your blues
dbdumonteil11 August 2008
This is a very simple story,some kind of "miracle worker" in miniature. Sidney Poitier and Elizabeth Hartman -an actress I had not noticed before- give heartfelt warm performances .Nothing spectacular,the story goes straight to the heart.
Selina is a poor girl who 's got nothing but a box of beads .Her family treats her like dirt ,and nobody cares for her ,nobody thinks about her education .She's blind ,so what's the point of sending her to school?Unlike the Keller family who poisoned Helen with protection ("Miracle Worker"),Selina's family left the poor thing to her own devices .
Enter Sidney Poitier!In 1965,the film was revolutionary:one would have expected a little blind black girl and a white schoolteacher (for instance) and it's a black man who will take care of a white young girl!Gordon displays pedagogic skills a teacher could envy.But most of all,his lessons try to teach happiness to Selina: these foolish things,such as eating a roast beef sandwich in the park,sipping pineapple juice,shopping in a supermarket ,listening to a music box and more serious things like simply learning to cross the street. Note how people but two persons are selfish when Selina is alone in the street.
As for the score ,since the beginning,it reminded me of the old French song "Il Pleut Bergère".And when Poitier began to sing the song (in a delightful French) ,I had no more doubts.This is an old song,written by Fabre D'Eglantine ,one of the revolutionaries of 1789 ;some have seen in this kiddie song a metaphor for the things to come . "Il Pleut Bergère" was a judicious choice;it goes like this.
Il PLeut Il Pleut Bergère Rentre Tes Blancs Moutons Allons Sous Ma Chaumière Bergère Vite Allons!
(It's raining,lil' shepherd girl/Bring in your flock of white sheep/let's go into my cottage /shepherd girl,let's go quickly!)
The song perfectly reflected Selina's situation.Gordon's flat is the cottage of the song.
Should not be missed if you are looking for something which is off the beaten track.
Selina is a poor girl who 's got nothing but a box of beads .Her family treats her like dirt ,and nobody cares for her ,nobody thinks about her education .She's blind ,so what's the point of sending her to school?Unlike the Keller family who poisoned Helen with protection ("Miracle Worker"),Selina's family left the poor thing to her own devices .
Enter Sidney Poitier!In 1965,the film was revolutionary:one would have expected a little blind black girl and a white schoolteacher (for instance) and it's a black man who will take care of a white young girl!Gordon displays pedagogic skills a teacher could envy.But most of all,his lessons try to teach happiness to Selina: these foolish things,such as eating a roast beef sandwich in the park,sipping pineapple juice,shopping in a supermarket ,listening to a music box and more serious things like simply learning to cross the street. Note how people but two persons are selfish when Selina is alone in the street.
As for the score ,since the beginning,it reminded me of the old French song "Il Pleut Bergère".And when Poitier began to sing the song (in a delightful French) ,I had no more doubts.This is an old song,written by Fabre D'Eglantine ,one of the revolutionaries of 1789 ;some have seen in this kiddie song a metaphor for the things to come . "Il Pleut Bergère" was a judicious choice;it goes like this.
Il PLeut Il Pleut Bergère Rentre Tes Blancs Moutons Allons Sous Ma Chaumière Bergère Vite Allons!
(It's raining,lil' shepherd girl/Bring in your flock of white sheep/let's go into my cottage /shepherd girl,let's go quickly!)
The song perfectly reflected Selina's situation.Gordon's flat is the cottage of the song.
Should not be missed if you are looking for something which is off the beaten track.
One Of The Best Performances By An Entire Cast That I've Ever Seen
sddavis6324 June 2016
There is so much going on in this movie. It's about the struggles of being blind in a sighted world. It's about the challenge of being black in a white world. It's about abuse and alcoholism. It's a romance of sorts. It's interesting social commentary. Fifty years later it runs the risk of being dated - because society has changed so much - and yet it didn't feel dated. It felt relevant. It got a reaction out of me. It's an absolutely marvellous movie; almost flawless. I came across it basically by accident, noted that it starred Sidney Poitier and thought I'd take a chance on it. It was one of the best decisions I've ever made.
Mostly, this movie works because of the spectacular performances from basically all the members of the cast. I watched the movie because of Poitier's name - and he was superb - but the real standout of this movie was Elizabeth Hartman. As Selina D'Arcy she plays a young, friendless, naive and lonely blind woman who's basically trapped in an apartment with her abusive mother and an alcoholic grandfather. Hartman makes Selina wonderfully vulnerable - a sad character; one you can't help but feel protective toward, even just watching her on the screen. One day Selina gets to go to the park - against her mother's wishes. And she meets Gordon, played by Poitier. They become friends - very close friends, in a very innocent way. Gordon bonds with her, also protective toward her and generous to her and kind to her, and with absolutely no ulterior motive at all. It's a relationship between two vulnerable people - a black man and a blind woman. Selina doesn't know Gordon is black, and he doesn't tell her, but that means that even though she can't see, she sees him for what he is - kind, generous, sensitive. "Beautiful" she tells him eventually, even after she's discovered that he's black. She falls in love with him. He loves her in return - whether he was "in love" with her is left as an open question. In some ways his feelings come across as more fraternal, or even paternal, and eventually Gordon sets himself to the task of getting her out of her mother's apartment and into a special school. The movie doesn't have a "happily ever after" ending. We're left not knowing what would become of their relationship - but the relationship between them was fascinating to watch as it developed. They shared a tremendous chemistry, and both put on spectacular performances. This was actually Hartman's acting debut. She was nominated for the Oscar for Best Actress - deservedly so, and it's hard to believe based on this performance that she never really made it big in Hollywood. Perhaps her brilliant performance as the troubled Selina was a by-product of the fact that she was herself a very tormented young woman who suffered from severe depression and eventually committed suicide at the age of 43.
Poitier was his usual excellent self as Gordon, and Shelley Winters put on an outstanding performance as Selina's mother Rose-Ann. Rose- Ann was abusive toward Selina, treated her more like a servant than a daughter with a barely disguised contempt. My sense from the dialogue is that she was a prostitute, although I don't think that was stated outright. Toward the end of the movie, before Gordon helps Selina escape before Rose-Ann moved them with a friend to a new apartment, the impression was that Rose-Ann was going to use Selina as part of her business - presumably wanting to turn her into a prostitute as well. Winters was so convincing in the role that she heightened the sense of sympathy and protectiveness you feel for Selina. Forget Gordon. I wanted to reach into the screen and drag this girl out of that apartment and to a place of safety. Winters actually won the Oscar for Best Supporting Actress for this role. Wallace Ford had a lesser role, but was also very good as Selina's grandfather "Ole Pa" - and the fight scene between Ole Pa and Rose- Ann was caustic. As this was Hartman's first film, it was also the last film of Ford's career, that had stretched back to the late 1920's. Ironically, Poitier won nothing for "A Patch of Blue," and yet it was the biggest box office success of his career.
This movie is almost perfect. Why "almost"? Well, my only quibble is that aside from a few stares there really didn't seem to be much reaction from anyone (except Rose Ann) to this very public relationship between a black man and a young white woman. That just didn't strike me as realistic. It's a minor thing, perhaps, but I kept waiting for someone to confront them with a "get away from that white woman" sort of comment - and it never happened. It is a minor quibble, but it was on my mind. But - almost perfect! (9/10)
Mostly, this movie works because of the spectacular performances from basically all the members of the cast. I watched the movie because of Poitier's name - and he was superb - but the real standout of this movie was Elizabeth Hartman. As Selina D'Arcy she plays a young, friendless, naive and lonely blind woman who's basically trapped in an apartment with her abusive mother and an alcoholic grandfather. Hartman makes Selina wonderfully vulnerable - a sad character; one you can't help but feel protective toward, even just watching her on the screen. One day Selina gets to go to the park - against her mother's wishes. And she meets Gordon, played by Poitier. They become friends - very close friends, in a very innocent way. Gordon bonds with her, also protective toward her and generous to her and kind to her, and with absolutely no ulterior motive at all. It's a relationship between two vulnerable people - a black man and a blind woman. Selina doesn't know Gordon is black, and he doesn't tell her, but that means that even though she can't see, she sees him for what he is - kind, generous, sensitive. "Beautiful" she tells him eventually, even after she's discovered that he's black. She falls in love with him. He loves her in return - whether he was "in love" with her is left as an open question. In some ways his feelings come across as more fraternal, or even paternal, and eventually Gordon sets himself to the task of getting her out of her mother's apartment and into a special school. The movie doesn't have a "happily ever after" ending. We're left not knowing what would become of their relationship - but the relationship between them was fascinating to watch as it developed. They shared a tremendous chemistry, and both put on spectacular performances. This was actually Hartman's acting debut. She was nominated for the Oscar for Best Actress - deservedly so, and it's hard to believe based on this performance that she never really made it big in Hollywood. Perhaps her brilliant performance as the troubled Selina was a by-product of the fact that she was herself a very tormented young woman who suffered from severe depression and eventually committed suicide at the age of 43.
Poitier was his usual excellent self as Gordon, and Shelley Winters put on an outstanding performance as Selina's mother Rose-Ann. Rose- Ann was abusive toward Selina, treated her more like a servant than a daughter with a barely disguised contempt. My sense from the dialogue is that she was a prostitute, although I don't think that was stated outright. Toward the end of the movie, before Gordon helps Selina escape before Rose-Ann moved them with a friend to a new apartment, the impression was that Rose-Ann was going to use Selina as part of her business - presumably wanting to turn her into a prostitute as well. Winters was so convincing in the role that she heightened the sense of sympathy and protectiveness you feel for Selina. Forget Gordon. I wanted to reach into the screen and drag this girl out of that apartment and to a place of safety. Winters actually won the Oscar for Best Supporting Actress for this role. Wallace Ford had a lesser role, but was also very good as Selina's grandfather "Ole Pa" - and the fight scene between Ole Pa and Rose- Ann was caustic. As this was Hartman's first film, it was also the last film of Ford's career, that had stretched back to the late 1920's. Ironically, Poitier won nothing for "A Patch of Blue," and yet it was the biggest box office success of his career.
This movie is almost perfect. Why "almost"? Well, my only quibble is that aside from a few stares there really didn't seem to be much reaction from anyone (except Rose Ann) to this very public relationship between a black man and a young white woman. That just didn't strike me as realistic. It's a minor thing, perhaps, but I kept waiting for someone to confront them with a "get away from that white woman" sort of comment - and it never happened. It is a minor quibble, but it was on my mind. But - almost perfect! (9/10)
Emotional film , a pioneering interracial melodrama.
robfollower20 July 2019
What does a patch of blue mean?
"A patch of blue" comes from one of things Selina remembers from her childhood before she became blind. When she was a small girl, too small to see out the window, she could only see a patch of blue sky above the windowsill, and that was one of very few colors she remembered. I found this profoundly interesting.
Selina D'Arcey is blind, yet she sees the world anew through the eyes of kindly Gordon Ralfe (Academy Award winner Sidney Poitier). An awkward Cinderella raised by a bigoted, abusive mother, Selina is white. She does not know that the man helping her learn to dial a pay phone or find the restroom is black.
Elizabeth Hartman was granted a ten-week leave from the Broadway play, Everybody Out, the Castle is Sinking, in order to film A Patch of Blue at M-G-M Studios according to American Film Institute . Elizabeth Hartman's luminous screen debut as Selina earned her a Golden Globe Award as Most Promising Newcomer. Hartman's runs the emotional gamut in her performance, she is outstanding. Hollywood politics and crippling depression ended her career and eventually led to her taking her own life. It's a sad story, but we'll always have A Patch of Blue to remember her by.
On the veteran side as Selina's blowsy, bitter mother, Shelley Winters won her second Oscar for her ridiculously shrill and violent performance. Winters was superb; she truly is unnerving . As directed by Guy Green (Oscar-winning cinematographer for Great Expectations, 1947), the performances are timeless in A Patch of Blue. So is this fine film's heart-soaring impact. A pioneering interracial melodrama. I love a Hollywood tear-jerker. The Patch of Blue is a fine example . 9/10
"A patch of blue" comes from one of things Selina remembers from her childhood before she became blind. When she was a small girl, too small to see out the window, she could only see a patch of blue sky above the windowsill, and that was one of very few colors she remembered. I found this profoundly interesting.
Selina D'Arcey is blind, yet she sees the world anew through the eyes of kindly Gordon Ralfe (Academy Award winner Sidney Poitier). An awkward Cinderella raised by a bigoted, abusive mother, Selina is white. She does not know that the man helping her learn to dial a pay phone or find the restroom is black.
Elizabeth Hartman was granted a ten-week leave from the Broadway play, Everybody Out, the Castle is Sinking, in order to film A Patch of Blue at M-G-M Studios according to American Film Institute . Elizabeth Hartman's luminous screen debut as Selina earned her a Golden Globe Award as Most Promising Newcomer. Hartman's runs the emotional gamut in her performance, she is outstanding. Hollywood politics and crippling depression ended her career and eventually led to her taking her own life. It's a sad story, but we'll always have A Patch of Blue to remember her by.
On the veteran side as Selina's blowsy, bitter mother, Shelley Winters won her second Oscar for her ridiculously shrill and violent performance. Winters was superb; she truly is unnerving . As directed by Guy Green (Oscar-winning cinematographer for Great Expectations, 1947), the performances are timeless in A Patch of Blue. So is this fine film's heart-soaring impact. A pioneering interracial melodrama. I love a Hollywood tear-jerker. The Patch of Blue is a fine example . 9/10
Nobody does unsympathetic like Shelley Winters, also stars Sidney Poitier and Elizabeth Hartman
jacobs-greenwood6 December 2016
Warning: Spoilers
Directed by Academy Award winning Cinematographer Guy Green, who also adapted Elizabeth Kata's novel "Be Ready With Bells and Drums", this above average drama features Shelley Winters's second Best Supporting Actress performance (The Diary of Anne Frank (1959)). This time she plays the unsympathetic role of a white trash mother to a sightless 18 year old daughter, played by Elizabeth Hartman (who earned her only Oscar nomination as Best Actress), whom she blinded!
Sidney Poitier plays the man who befriends Hartman's character, and helps her to "see" a new life filled with wonder and kindness. Wallace Ford, in his final role, plays Hartman's drunken grandfather, who also lives with her and her horrible mother. The film's B&W Art Direction-Set Decoration, Robert Burk's Cinematography, and Jerry Goldsmith's Score were also nominated.
The life and story of Selina D'Arcy (Hartman) is a sad one. She lives with a tramp of a cruel mother, whom she calls by her first name Rose-Ann (Winters), and her alcoholic Ole (grand) Pa (Ford) in a small, squalid apartment in the city. We learn later that she was blinded by her mother when her father came home early from a tour of duty to discover her with another man. In the fight that ensued, Rose-Ann threw a bottle (of acid?) at her husband which missed him and blinded her five year old daughter Selina. To assuage her own guilt, Rose-Ann then treats Selina as her personal slave, keeping her out of school while making her their housekeeper and personal cook. Once, Selina was even raped by one of her mother's lovers.
It is unclear why Ole Pa lives with them, except perhaps because he has nowhere else to go and provides them some income. On a limited basis, at least Ole Pa occasionally protects Selina from her mother's rage and, along with a neighbor, provides Selina a means to "see" another world outside her awful home life. The neighbor, played by an unrecognizable (yet prolific character actor) John Qualen, provides Selina a means to earn her keep by hiring her to string beads for his business.
Selina lives for these days when she's able to go to the park, even though she generally just sits by a large tree and makes the bead necklaces. One day she meets, quite by chance, Gordon Ralfe (Poitier), a man who helps her get a caterpillar out of her blouse that had fallen down her back.
Gordon soon learns of Selina's condition, lack of education, and ignorance about virtually everything else. He is shocked to learn that, even though she's been blind for 13 years, she doesn't know how to read Braille or function in any but the simplest ways for a person in her situation. So, he "adopts" her, meeting her regularly at the park and helping her to experience life and all it entails. Though their relationship is entirely platonic, it becomes a loving one that could lead to something more despite Gordon's brother's (Ivan Dixon) warnings that he's not "seeing the forest for the trees".
Through Selina, Gordon learns that her family is racist; he's yet to tell her his own race. Later, Rose-Ann learns of Selina's acquaintance with Gordon shortly after she had decided to change her daughter's home environment even more drastically with her equally trashy friend Sadie (Elisabeth Fraser).
The film's ending is hopeful without being ridiculously, and/or impractically, sentimental.
Sidney Poitier plays the man who befriends Hartman's character, and helps her to "see" a new life filled with wonder and kindness. Wallace Ford, in his final role, plays Hartman's drunken grandfather, who also lives with her and her horrible mother. The film's B&W Art Direction-Set Decoration, Robert Burk's Cinematography, and Jerry Goldsmith's Score were also nominated.
The life and story of Selina D'Arcy (Hartman) is a sad one. She lives with a tramp of a cruel mother, whom she calls by her first name Rose-Ann (Winters), and her alcoholic Ole (grand) Pa (Ford) in a small, squalid apartment in the city. We learn later that she was blinded by her mother when her father came home early from a tour of duty to discover her with another man. In the fight that ensued, Rose-Ann threw a bottle (of acid?) at her husband which missed him and blinded her five year old daughter Selina. To assuage her own guilt, Rose-Ann then treats Selina as her personal slave, keeping her out of school while making her their housekeeper and personal cook. Once, Selina was even raped by one of her mother's lovers.
It is unclear why Ole Pa lives with them, except perhaps because he has nowhere else to go and provides them some income. On a limited basis, at least Ole Pa occasionally protects Selina from her mother's rage and, along with a neighbor, provides Selina a means to "see" another world outside her awful home life. The neighbor, played by an unrecognizable (yet prolific character actor) John Qualen, provides Selina a means to earn her keep by hiring her to string beads for his business.
Selina lives for these days when she's able to go to the park, even though she generally just sits by a large tree and makes the bead necklaces. One day she meets, quite by chance, Gordon Ralfe (Poitier), a man who helps her get a caterpillar out of her blouse that had fallen down her back.
Gordon soon learns of Selina's condition, lack of education, and ignorance about virtually everything else. He is shocked to learn that, even though she's been blind for 13 years, she doesn't know how to read Braille or function in any but the simplest ways for a person in her situation. So, he "adopts" her, meeting her regularly at the park and helping her to experience life and all it entails. Though their relationship is entirely platonic, it becomes a loving one that could lead to something more despite Gordon's brother's (Ivan Dixon) warnings that he's not "seeing the forest for the trees".
Through Selina, Gordon learns that her family is racist; he's yet to tell her his own race. Later, Rose-Ann learns of Selina's acquaintance with Gordon shortly after she had decided to change her daughter's home environment even more drastically with her equally trashy friend Sadie (Elisabeth Fraser).
The film's ending is hopeful without being ridiculously, and/or impractically, sentimental.
Poitier at his best
kols2 September 2015
Warning: Spoilers
Along with the rest of the cast. All giving Career performances.
And a huge surprise for me.
Saw it first shortly after it came out and was, frankly, unimpressed. This was the sixties and I was a teen radical and the whole movie just seemed pasty and whiny and slow and superficial and made no sense. A Fifties-ish mentality clashing wildly with our anti-racism militancy.
Well OPPS and take my own advice - see the movie on the screen, not the one colored by your expectations.
I'm delighted that, when recently broadcast on TCM, I decided to record and archive it as An Important Movie.
Turns out this time I saw a movie that is infinitely more complex than the simple story I remembered and, rather than being dated, treats its theme of racism in a style that is as fresh and intimate today as it may have been in 1965.
The key is the subtlety of of the movie's cinematography, its use of light and dark to evoke layers of the Light and Darkness of the human soul, telling a parallel, broader story in counterpoint to the simple love story portrayed by Poitier and Hartman, both stories twined as a totally engaging dance.
There are other, symbolic devices in addition to light and dark; small things that, like plays on expectations, reinforce that dance. Part of the fun is watching them play out.
And, though I remembered a negative ending, based on race, this time I recognized its much more positive ending based on a lightly expressed 'Possibility': the last step of the dance leaving room for a future.
1965 was a year of strong contenders so I was delighted that Shelly Winters received an Oscar for her performance but, based on my updated perception, wish that the Academy had granted A Patch of Blue a nomination for Best Picture and Poitier Best Actor.
A World Class Movie.
P.S. OK, one example device: the Mustang parked on the street as Poitier rushes out of his apartment house at the end. Just a dim, shadowy rear-end glimpse but still an evocation of individualism, freedom and joy that that car, specifically that car, still represents - even to those who weren't teenagers in the '60s.
And a huge surprise for me.
Saw it first shortly after it came out and was, frankly, unimpressed. This was the sixties and I was a teen radical and the whole movie just seemed pasty and whiny and slow and superficial and made no sense. A Fifties-ish mentality clashing wildly with our anti-racism militancy.
Well OPPS and take my own advice - see the movie on the screen, not the one colored by your expectations.
I'm delighted that, when recently broadcast on TCM, I decided to record and archive it as An Important Movie.
Turns out this time I saw a movie that is infinitely more complex than the simple story I remembered and, rather than being dated, treats its theme of racism in a style that is as fresh and intimate today as it may have been in 1965.
The key is the subtlety of of the movie's cinematography, its use of light and dark to evoke layers of the Light and Darkness of the human soul, telling a parallel, broader story in counterpoint to the simple love story portrayed by Poitier and Hartman, both stories twined as a totally engaging dance.
There are other, symbolic devices in addition to light and dark; small things that, like plays on expectations, reinforce that dance. Part of the fun is watching them play out.
And, though I remembered a negative ending, based on race, this time I recognized its much more positive ending based on a lightly expressed 'Possibility': the last step of the dance leaving room for a future.
1965 was a year of strong contenders so I was delighted that Shelly Winters received an Oscar for her performance but, based on my updated perception, wish that the Academy had granted A Patch of Blue a nomination for Best Picture and Poitier Best Actor.
A World Class Movie.
P.S. OK, one example device: the Mustang parked on the street as Poitier rushes out of his apartment house at the end. Just a dim, shadowy rear-end glimpse but still an evocation of individualism, freedom and joy that that car, specifically that car, still represents - even to those who weren't teenagers in the '60s.
Strong and moving film
ossie858 April 2023
This film remains a captivating and moving experience to this day. Despite its lack of subtlety, the film manages to be a compelling story thanks to its stellar performances, strong themes, and emotional impact.
Directed by Guy Green, the film tells the story of a young blind woman named Selina (played by Elizabeth Hartman) who lives in a slum tenement with her abusive and uneducated mother (Shelley Winters in an Oscar winning performance). One day, Selina meets Gordon (played by Sidney Poitier), a kind-hearted black man who teaches her about the world and helps her to break free from the constraints of her oppressive home life.
While the film's themes of racism and prejudice are not exactly subtle, the powerful performances from the cast more than make up for any lack of nuance. Poitier, in particular, is a standout force in the film, imbuing Gordon with an easy charm and quiet strength that makes him an instantly likable character.
Likewise, Hartman delivers a heart-wrenching performance as Selina, conveying both the pain and the joy of her character's journey with a depth and authenticity that is truly compelling. The themes of the film, particularly those regarding love and acceptance, are portrayed in a way that is both sincere and powerful, making A Patch of Blue a truly moving experience.
Overall, A Patch of Blue may not be the most subtle or nuanced film, but it is a compelling and emotionally effective one. The performances are excellent, and the themes are portrayed with a sincerity and depth that is hard to ignore. For those looking for a moving and thought-provoking drama, A Patch of Blue is definitely worth watching.
Directed by Guy Green, the film tells the story of a young blind woman named Selina (played by Elizabeth Hartman) who lives in a slum tenement with her abusive and uneducated mother (Shelley Winters in an Oscar winning performance). One day, Selina meets Gordon (played by Sidney Poitier), a kind-hearted black man who teaches her about the world and helps her to break free from the constraints of her oppressive home life.
While the film's themes of racism and prejudice are not exactly subtle, the powerful performances from the cast more than make up for any lack of nuance. Poitier, in particular, is a standout force in the film, imbuing Gordon with an easy charm and quiet strength that makes him an instantly likable character.
Likewise, Hartman delivers a heart-wrenching performance as Selina, conveying both the pain and the joy of her character's journey with a depth and authenticity that is truly compelling. The themes of the film, particularly those regarding love and acceptance, are portrayed in a way that is both sincere and powerful, making A Patch of Blue a truly moving experience.
Overall, A Patch of Blue may not be the most subtle or nuanced film, but it is a compelling and emotionally effective one. The performances are excellent, and the themes are portrayed with a sincerity and depth that is hard to ignore. For those looking for a moving and thought-provoking drama, A Patch of Blue is definitely worth watching.
Perfect!
HotToastyRag14 November 2017
A Patch of Blue is one of my favorite classic movies. There are so many wonderful elements to the film: a tragic script, fantastic acting, family tensions, a beautiful romance, suspense, humor, social commentary, fitting music, and above all, heart. There's so much heart in this film it'll be impossible for you to remain dry-eyed. But, although it is a heavy drama, it's not so upsetting you won't want to watch it over and over. I've seen it over a dozen times and I still haven't had my fill.
Twenty-two-year-old Elizabeth Hartman made her film debut as the lead in A Patch of Blue, and she was nominated for Best Actress at the 1965 Oscars. It was a terribly competitive year, with Julie Andrews in The Sound of Music and Julie Christie in Darling as her main competition. I'll leave it to you to pick the most deserving performance of the three, but it's a very tough decision. I would have given the gold to Elizabeth.
Elizabeth plays a young blind girl, and to make her eyes look sufficiently damaged to the audience, she wore special contacts-but they actually interfered with her ability to see clearly! She lives with her crass and cruel mother Shelley Winters, and Shelley's alcoholic father Wallace Ford. Elizabeth is constantly verbally abused, and she believes the insults her mother flings at her, so she sees no problem with acting as the housekeeper, cook, and laundress, even though she's unappreciated. She also strings beads, which bring in a meager side income for the household, and on sunny days, Wallace Ford takes her to the park so she can enjoy the fresh air while working. One day, she meets a kind man, and a slow friendship builds.
Sidney Poitier plays the nice man in the park. Elizabeth is extremely ignorant, and as she and Sidney become friends, he helps educate her, from correcting her grammar to helping her survive better in her blind world. If you don't fall in love with Sidney Poitier after watching A Patch of Blue, you must have lousy taste. He's so incredibly sweet and kind, but he's also reserved because he suspects if Elizabeth knew the color of his skin, she wouldn't want to associate with him anymore.
Shelley Winters, in her own unique brashness that makes her utterly unlikable yet fascinating to watch, plays an ignorant, racist woman so convincingly, it'll be tough to believe her in any other role if you've never seen her before. You might want to try A Place in the Sun or Night of the Hunter to see her in a softer role first before this harsh character becomes etched in your mind. She won an Oscar for her performance, but Sidney Poitier wasn't even nominated. Maybe the Academy wasn't ready to honor an interracial romance; in some Southern states, some of the scenes were cut from the theatrical screenings.
I can't stress enough how wonderful this film is. If you've ever felt alone in the world and ached for just a small gesture of kindness, you'll love it. If you're a hopeless romantic, you'll love it. If you appreciate movies with fantastic acting, or are a Sidney Poitier fan, or are looking for a new celebrity boyfriend, you'll love it. Just watch it. You'll love it.
Twenty-two-year-old Elizabeth Hartman made her film debut as the lead in A Patch of Blue, and she was nominated for Best Actress at the 1965 Oscars. It was a terribly competitive year, with Julie Andrews in The Sound of Music and Julie Christie in Darling as her main competition. I'll leave it to you to pick the most deserving performance of the three, but it's a very tough decision. I would have given the gold to Elizabeth.
Elizabeth plays a young blind girl, and to make her eyes look sufficiently damaged to the audience, she wore special contacts-but they actually interfered with her ability to see clearly! She lives with her crass and cruel mother Shelley Winters, and Shelley's alcoholic father Wallace Ford. Elizabeth is constantly verbally abused, and she believes the insults her mother flings at her, so she sees no problem with acting as the housekeeper, cook, and laundress, even though she's unappreciated. She also strings beads, which bring in a meager side income for the household, and on sunny days, Wallace Ford takes her to the park so she can enjoy the fresh air while working. One day, she meets a kind man, and a slow friendship builds.
Sidney Poitier plays the nice man in the park. Elizabeth is extremely ignorant, and as she and Sidney become friends, he helps educate her, from correcting her grammar to helping her survive better in her blind world. If you don't fall in love with Sidney Poitier after watching A Patch of Blue, you must have lousy taste. He's so incredibly sweet and kind, but he's also reserved because he suspects if Elizabeth knew the color of his skin, she wouldn't want to associate with him anymore.
Shelley Winters, in her own unique brashness that makes her utterly unlikable yet fascinating to watch, plays an ignorant, racist woman so convincingly, it'll be tough to believe her in any other role if you've never seen her before. You might want to try A Place in the Sun or Night of the Hunter to see her in a softer role first before this harsh character becomes etched in your mind. She won an Oscar for her performance, but Sidney Poitier wasn't even nominated. Maybe the Academy wasn't ready to honor an interracial romance; in some Southern states, some of the scenes were cut from the theatrical screenings.
I can't stress enough how wonderful this film is. If you've ever felt alone in the world and ached for just a small gesture of kindness, you'll love it. If you're a hopeless romantic, you'll love it. If you appreciate movies with fantastic acting, or are a Sidney Poitier fan, or are looking for a new celebrity boyfriend, you'll love it. Just watch it. You'll love it.
interracial romance
SnoopyStyle23 February 2015
Selina D'Arcey (Elizabeth Hartman) is the long suffering blind daughter of her mean-spirited prostitute mother Rose-Ann (Shelley Winters). When she was five, her father Harry got into a fight with her mother's date. Rose-Ann threw a bottle at Harry but hit Selina instead. They live with her grandpa Ole Pa in a rundown LA apartment. She yearns to spend the day in the park despite her mother's objection. She meets kindly office worker Gordon Ralfe (Sidney Poitier) who teaches the naive uneducated Selina. She doesn't know his color at first. The interracial romance causes friction. Her mother forbids it and his brother hates it. Poitier is playing the super nice black guy in this important movie. The acting is terrific. Winters is at her bombastic best. Hartman is sweet. Poitier is a bit too saintly but he needed to be for this movie to work at that time. That limits the heat in the relationship and that's the only drawback for me.
Highlly overrated unrealistic mishmash
bgh4828 September 2006
Take three family members with different accents (Shelly Winters with her New "Yawk" accent; Wallace Ford with his natural New England accent; and Elizabeth Hartman with her Southern accent -- these people are supposed to be related??) Put them living in some unrecognizable town or city; there is no sense of place; are they in a big city or a suburb? There seems to be a deli and an awful lot of people crossing the street. Where are we?? Throw in goody-goody Sidney (his brother however is believably played by Ivan Dixon) Shelly Winters' Oscar is so misplaced here; she should have won it for "Lolita". Winter's character is just too unbelievable; she treats "Serena" like something out of a Victorian Dickens novel. (even Sidney's character refers to this but the script isn't as self-aware as he is!) Throw in some message about tolerance and the people who are really blind in this world and you have a very strange film that for me never comes together. All the actors have been far better in other films.
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