1 00:47:43,967 --> 00:47:45,593 and it is destroying them. 2 00:47:48,054 --> 00:47:53,434 And this, not from anything Blacks may or may not be doing, 3 00:47:54,143 --> 00:47:55,603 but because of the role 4 00:47:55,770 --> 00:47:58,815 of a guilty and constricted white imagination 5 00:47:59,190 --> 00:48:00,900 has assigned to the Blacks. 6 00:48:12,620 --> 00:48:14,372 Look man, don't give me that look. 7 00:48:15,456 --> 00:48:17,292 You should have got what was coming to you 8 00:48:17,625 --> 00:48:19,627 after spitting in that guy's face. 9 00:48:21,921 --> 00:48:23,047 Why you... 10 00:48:24,674 --> 00:48:27,844 It is impossible to accept the premise of the story, 11 00:48:28,469 --> 00:48:32,223 a premise based on the profound American misunderstanding 12 00:48:32,390 --> 00:48:35,435 of the nature of the hatred between black and white. 13 00:48:35,977 --> 00:48:37,729 That time is now. 14 00:48:39,939 --> 00:48:42,483 The root of the black man's hatred is rage, 15 00:48:43,359 --> 00:48:45,403 and he does not so much hate white men 16 00:48:45,570 --> 00:48:48,072 as simply wants them out of his way, 17 00:48:49,032 --> 00:48:50,450 and more than that, 18 00:48:51,034 --> 00:48:52,493 out of his children's way. 19 00:48:55,288 --> 00:48:57,957 The root of the white man's hatred is terror. 20 00:48:58,124 --> 00:48:59,292 I'm gonna kill you. 21 00:48:59,459 --> 00:49:01,502 A bottomless and nameless terror, 22 00:49:02,086 --> 00:49:04,422 which focuses on this dread figure, 23 00:49:04,672 --> 00:49:07,925 an entity which lives only in his mind. 24 00:49:15,558 --> 00:49:16,684 Run! 25 00:49:16,851 --> 00:49:17,977 Come on! 26 00:49:18,144 --> 00:49:21,105 I can't make it, I can't make it! 27 00:49:27,362 --> 00:49:29,238 When Sidney jumps off the train, 28 00:49:29,489 --> 00:49:31,157 the white liberal people downtown 29 00:49:31,324 --> 00:49:33,076 were much relieved and joyful. 30 00:49:34,035 --> 00:49:36,746 But when black people saw him jump off the train, 31 00:49:37,246 --> 00:49:41,292 they yelled, "Get back on the train, you fool!" 32 00:49:44,712 --> 00:49:46,506 The black man jumps off the train 33 00:49:46,714 --> 00:49:48,675 in order to reassure white people, 34 00:49:49,634 --> 00:49:51,928 to make them know that they are not hated, 35 00:49:52,929 --> 00:49:55,014 that though they have made human errors, 36 00:49:55,932 --> 00:49:58,559 they done nothing for which to be hated. 37 00:50:03,022 --> 00:50:06,401 ♪ I'm Chiquita Banana And I'm here to say ♪ 38 00:50:06,567 --> 00:50:07,860 ♪ I am the top banana... ♪ 39 00:50:08,027 --> 00:50:10,154 In spite of the fabulous myths 40 00:50:10,321 --> 00:50:11,823 proliferating in this country 41 00:50:11,989 --> 00:50:14,450 concerning the sexuality of black people, 42 00:50:15,076 --> 00:50:18,579 black men are still used, in the popular culture, 43 00:50:18,913 --> 00:50:21,958 as though they had no sexual equipment at all. 44 00:50:24,252 --> 00:50:27,797 Sidney Poitier, as a black artist, and a man, 45 00:50:28,297 --> 00:50:30,758 is also up against the infantile, 46 00:50:30,925 --> 00:50:33,010 furtive sexuality of this country. 47 00:50:34,095 --> 00:50:37,306 Both he and Harry Belafonte, for example, 48 00:50:37,473 --> 00:50:40,935 are sex symbols, though no one dares admit that, 49 00:50:41,602 --> 00:50:45,982 still less to use them as any of the Hollywood he-men are used. 50 00:50:50,069 --> 00:50:53,114 Black people have been robbed of everything in this country... 51 00:50:53,281 --> 00:50:54,699 I've got something to say to you, boy. 52 00:50:54,866 --> 00:50:58,035 ...and they don't want to be robbed of their artist. 53 00:50:59,036 --> 00:51:00,872 Black people particularly disliked 54 00:51:01,038 --> 00:51:02,582 Guess Who's Coming to Dinner, 55 00:51:02,749 --> 00:51:05,668 because they felt that Sidney was, in effect, 56 00:51:05,835 --> 00:51:07,462 being used against them. 57 00:51:08,504 --> 00:51:10,381 Guess Who's Coming to Dinner may prove, 58 00:51:10,548 --> 00:51:12,967 in some bizarre way, to be a milestone, 59 00:51:13,509 --> 00:51:17,263 because it is really quite impossible to go any further 60 00:51:17,430 --> 00:51:19,056 in that particular direction. 61 00:51:19,515 --> 00:51:23,895 ♪ If you ever plan to motor West... ♪ 62 00:51:24,979 --> 00:51:28,357 The next time, the kissing will have to start. 63 00:51:35,364 --> 00:51:37,700 Well, you've got your ticket? 64 00:51:38,576 --> 00:51:39,827 Here you are. 65 00:51:42,079 --> 00:51:43,289 Thank you. 66 00:51:44,415 --> 00:51:47,126 I am aware that men do not kiss each other 67 00:51:47,293 --> 00:51:51,756 in American films, nor, for the most part, in America 68 00:51:52,632 --> 00:51:56,302 nor do the black detective and the white Sheriff kiss here. 69 00:51:59,555 --> 00:52:02,016 You take care, you hear? 70 00:52:07,480 --> 00:52:08,606 Yeah. 71 00:52:09,816 --> 00:52:11,901 But the obligatory, fade-out-kiss, 72 00:52:12,360 --> 00:52:15,571 in the classic American film, did not speak of love, 73 00:52:16,197 --> 00:52:18,115 and still less of sex. 74 00:52:19,158 --> 00:52:21,202 It spoke of reconciliation, 75 00:52:22,662 --> 00:52:25,206 of all things now becoming possible. 76 00:52:47,979 --> 00:52:50,731 I knew a blond girl in the village 77 00:52:51,190 --> 00:52:54,402 a long time ago, and eventually, 78 00:52:54,569 --> 00:52:56,779 we never walked out of the house together.