early 1950s he was a Vice Chair of the organization. In 1952, he was one of several narrators in a pageant written by Alice Childress and Lorraine Hansberry for the Negro History Festival put on by the leftist Harlem monthly newspaper Freedom. His participation in such events and CNA generally, along with his friendships with other leftist Black performers, including Canada Lee and Paul Robeson, led to his subsequent blacklisting for a few years. Even associating with Poitier added to the basis for blacklisting Alfred Palca, the writer and producer of one of Poitier's earliest films, the 1954 Go Man Go. Poitier never did sign a loyalty oath, despite being asked in connection with his prospective role in Blackboard Jungle (1955). 1950s By late 1949, Poitier had to choose between leading roles on stage and an offer to work for Darryl F. Zanuck in the film No Way Out (1950). His performance in No Way Out, as a doctor treating a white bigot (played by Richard Widmark, who became a friend), was noticed and led to more roles, each considerably more interesting and more prominent than those most African-American actors of the time were offered. In 1951, he traveled to South Africa with the African-American actor Canada Lee to star in the film version of Cry, the Beloved Country. Poitier's distinction continued in his role as Gregory W. Miller, a member of an incorrigible high-school class in Blackboard Jungle (1955). But it was his performance in Martin Ritt's 1957 Edge of the City that the industry could not ignore. It was a pitch towards stardom granted him. Poitier enjoyed working for director William Wellman on Good-bye, My Lady (1956). Wellman was a big name, he had previously directed the famous Roxie Hart (1942) with Ginger Rogers and Magic Town (1947) with James Stewart. What Poitier remembered indelibly was the wonderful humanity in this talented director. Wellman had a sensitivity that Poitier thought was profound, which Wellman felt he needed to hide." Poitier later praised Wellman for inspiring his thoughtful approach to directing when he found himself taking the helm from Joseph Sargent on Buck and the Preacher in 1971. In 1958 he starred alongside Tony Curtis in director Stanley Kramer's The Defiant Ones. The film was a critical and commercial success with the performances of both Poitier and Curtis being praised. The film landed eight Academy Award nominations including Best