He was born Raiford Chatman Davis on December 18, 1917 in Cogdell, Georgia. His parents called him "R.C." When his mother registered his birth, the county clerk misunderstood her and thought she said "Ossie" instead of "R.C.," and the name stuck. He graduated high school in 1936 and was offered two scholarships: one to Savannah State College in Georgia and the other to the famed Tuskegee Institute in Alabama, but he could not afford the tuition and turned them down. He eventually saved enough money to hitchhike to Washington, D.C., where he lived with relatives while attending Howard University and studied drama.
As much as he enjoyed studying dramatics, Davis had a hunger to practice the trade professionally and in 1939, he left Howard University and headed to Harlem to work in the Rose McClendon Players, a highly respected, all-black theater ensemble in its day.
Davis' good looks and deep voice were impressive from the beginning, and he quickly joined the company and remained for three years. With the onset of World War II, Davis spent nearly four years in service, mainly as a surgical technician in an all-black Army hospital in Liberia, serving both wounded troops and local inhabitants before being transferred to Special Services to write and produce stage shows for the troops.
Back in New York in 1946, Davis debuted on Broadway in Jeb, a play about a returning black soldier who runs afoul of the Ku Klux Klan in the deep south. His co-star was Ruby Dee, an attractive leading lady who was one of the leading lights of black theater and film. Their initial romance soon developed into a lasting bond, and the two were married on December 9, 1948.
With Hollywood making much more socially conscious, adult films, particularly those that tackled themes of race (Lonely Are The Brave, Pinky, Lost Boundaries all 1949), it wasn't long before Hollywood came calling for Davis. His first film, with which he co-starred with his wife Dee, was a tense Joseph L. Mankiewicz's prison drama with strong racial overtones No Way Out (1950). He followed that up with a role as a cab driver in Henry Hathaway's Fourteen Hours (1951). Yet for the most part, Davis and Dee were primarily stage actors, and made few film appearances throughout the decade.
However, in should be noted that much of Davis time in the '50s was spent in social causes. Among them, a vocal protest against the execution of Julius and Ethel Rosenberg, and an alignment with singer and black activist Paul Robeson. Davis remained loyal to Robeson even after he was denounced by other black political, sports and show business figures for his openly communist and pro-Soviet sympathies. Such affiliation led them to suspicions in the anti-Communist witch hunts of the early '50s, but Davis, nor his wife Dee, were never openly accused of any wrongdoing.
If there was ever a decade that Ossie Davis was destined for greatness, it was undoubtly the '60s. He began with a hit Broadway show, A Raisin in the Sun in 1960, and followed that up a year later with his debut as a playwright - the satire, Purlie Victorious. In it, Davis starred as Purlie, a roustabout preacher who returns to southern Georgia with a plan to buy his former master's plantation barn and turn it into a racially integrated church.
Although not an initial success, the play would be adapted into a Tony-award winning musical, Purlie years later. Yet just as important as his stage success, was the fact that Davis' film roles became much more rich and varied: a liberal priest in John Huston's The Cardinal (1963); an unflinching tough performance as a black soldier who won't break against a sadistic sergeant's racial taunts in Sidney Lumet's searing war drama The Hill (1965); and a shrewd, evil butler who turns the tables on his employer in Rod Serling's Night Gallery (1969).
In 1970, he tried his hand at film directing, and scored a hit with Cotton Comes to Harlem (1970), a sharp urban action comedy with Godfrey Cambridge and Raymond St. Jacques as two black cops trying to stop a con artist from stealing Harlem's poor. It's generally considered the first major crossover film for the black market that was a hit with white audiences. Elsewhere, he found roles in some popular television mini-series such as King, and Roots: The Next Generation (both 1978), but for the most part, was committed to the theater.
Happily, along came Spike Lee, who revived his film career when he cast him in School Daze (1988). Davis followed that up with two more Lee films: Do the Right Thing (1989), and Jungle Fever (1991), which also co-starred his wife Dee. From there, Davis found himself in demand for senior character parts in many films throughtout the '90s: Grumpy Old Men (1993), The Client (1994), I'm Not Rappaport (1996), and HBO's remake of 12 Angry Men (1997).
Davis and Dee celebrated their 50th wedding anniversary in 1998 with the publication of a dual autobiography, In This Life Together, and in 2004, they were among the artists selected to receive the Kennedy Center Honors. Davis had been in Miami filming an independent movie called Retirement with co-stars George Segal, Rip Torn and Peter Falk.
In addition to his widow Dee, Davis is survived by three children, Nora Day, Hasna Muhammad and Guy Davis; and seven grandchildren.
by Michael T. Toole
