Dandridge, Dorothy

Carmen Jones

Few actresses have captivated the camera as powerfully as Dorothy Dandridge in Carmen Jones. Her polished beauty plays in irresistible contrast to her title character's leonine sexuality and fluid emotions; a man can't decide from moment to moment if he wants to save her from doom, build her a castle, or never let her out of bed. Of course, that's the problem with the boys in this semi-experimental adaptation of Bizet's opera, Carmen. Straight-arrow Joe (a strapping Harry Belafonte), an obedient corporal on a Southern military base during World War II, is all set to go to flight school and marry his hometown sweetie, Cindy Lou (Olga James), when his troublemaking sergeant orders him to accompany Carmen to a civilian court. In short order, Joe is swept up in Carmen's carnal anarchy and her craving for release from lousy options in life. An impulsive act of violence ensures that Joe's future is gone forever, putting Carmen in the difficult position of destroying their relationship to save him. Oscar Hammerstein II took Bizet's music in 1943 and rewrote the book and lyrics. The result is largely a smashing success with a few missteps (the bullfighter in Bizet's piece becomes a heavyweight boxer here, which breaks up a certain grace in the story) and a couple of perfect stretches (the long prelude to Carmen and Joe's first embrace, set on Carmen's hoodoo-ish home turf). Despite the fact that both Dandridge and Belafonte were singers, their vocal performances were dubbed by LeVern Hutcherson and Marilyn Horne. (Yes, it is a little disconcerting to hear another voice come out of the more familiar Belafonte's mouth.) Otto Preminger directed with his usual eye on economy of action and production, as the numerous musical numbers tend to be shot in lengthy, single, carefully choreographed takes. The result can be a little visually static at times, but the passion behind the singing pulls everything through. --Tom Keogh

Powered by Georges Bizet's grand music and Oscar Hammerstein II's magnificent lyrics, this Americanized all-black version of the classic opera Carmen is "a dynamic superb show" with a positively "incandescent Carmen." (Newsweek) OscarÂ(r) -nominee Dorothy Dandridge stars in the title role, a passionate, sexy creature who lures Joe (Harry Belafonte), a handsome soldier, away from his sweetheart (Olga James). Following a fatal brawl with his sergeant, Joe deserts his regiment with the sultry femme fatale. But Carmen soon tires of him and takes up with a heavyweight prize-fighter (Joe Adams). Triggering Joe's tragic revenge. Helping to set the screen on fire are Pearl Bailey and Diahann Carroll, part of the "sensational troupe" that makes this jubilant musical film "hard to beat."

Island in the Sun

This race-relations film from 1957, based on a novel by Alec Waugh and set on a West Indies island, stars James Mason as a wealthy man who runs against a local union leader (Harry Belafonte). The rest of the players, one way or another, deal with the consequences of their rivalry. Mason and Belafonte leave a strong impression, but the film overall doesn't live up to its own sense of significance. Joan Collins is good as Mason's sister, who worries that the contest will cost her an engagement to the governor's son. --Tom Keogh

Four different love affairs simultaneously wreak havoc in the lives of the inhabitants of a tropical paradise. A wealthy plantation owner plots murder when he suspects his wife of having an adulterous relationship. At the same time, his sister-in-law is drawn to his enemy, a dedicated black labor leader, and a governor's aide is torn over his scandalous affair with a native woman. Darling and exquisitely filmed on location, this rich romantic story with it's focus on race, passion and politics, was one of the most talked about films of its day.

Harlem Renaissance / Fats Waller, Duke Ellington, Count Basie, Nat King Cole

A fabulous look at Harlem and its greatest musicians of the 20s, 30s and 40s: with extraordinary archival, full song performances by Fats Waller (This Joint Is Jumpin', Ain't Misbehaving, Your Feets Too Big), Bill "Bojangles" Robinson (Let's Scuffle), Dorothy Dandridge (Easy Street), Cab Calloway (We The Cats Will Hep You), Mills Brothers (Caravan, Cielito Lindo), Tiny Grimes (Romance Without Finance), Duke Ellington (Cottontail, Satin Doll) , Count Basie (The Start of Something Big, Take Me Back Baby)), Dizzy Gillespie (Salt Peanuts), Sidney Bechet (Nobody Knows The Trouble I've Seen), Nat King Cole (Frim Fram Sauce, I'm A Shy Guy, That's My Girl, Calypso Blues), Louis Armstrong (Swingin' On Nothin') and others. Featuring commentary by distinguished historians and the performers themselves, this program traces the roots of the music of the Harlem Renaissance, its social impact on society and its eventual acceptance in mainstream culture. 2004 Production.

Carmen Jones

Powered by Georges Bizet's grand music and Oscar Hammerstein II's magnificent lyrics this Americanized all-black version of the classic opera Carmen is "a dynamic superb show" with a positively "incandescent Carmen." (Newsweek) Oscar® -nominee Dorothy Dandridge stars in the title role a passionate sexy creature who lures Joe (Harry Belafonte) a handsome soldier away from his sweetheart (Olga James). Following a fatal brawl with his sergeant Joe deserts his regiment with the sultry femme fatale. But Carmen soon tires of him and takes up with a heavyweight prize-fighter (Joe Adams). Triggering Joe's tragic revenge. Helping to set the screen on fire are Pearl Bailey and Diahann Carroll part of the "sensational troupe" that makes this jubilant musical film "hard to beat."Format: DVD MOVIE Genre: MUSICALS/MUSICALS Rating: NR UPC: 024543018834 Manufacturer No: 2001883

Few actresses have captivated the camera as powerfully as Dorothy Dandridge in Carmen Jones. Her polished beauty plays in irresistible contrast to her title character's leonine sexuality and fluid emotions; a man can't decide from moment to moment if he wants to save her from doom, build her a castle, or never let her out of bed. Of course, that's the problem with the boys in this semi-experimental adaptation of Bizet's opera, Carmen. Straight-arrow Joe (a strapping Harry Belafonte), an obedient corporal on a Southern military base during World War II, is all set to go to flight school and marry his hometown sweetie, Cindy Lou (Olga James), when his troublemaking sergeant orders him to accompany Carmen to a civilian court. In short order, Joe is swept up in Carmen's carnal anarchy and her craving for release from lousy options in life. An impulsive act of violence ensures that Joe's future is gone forever, putting Carmen in the difficult position of destroying their relationship to save him. Oscar Hammerstein II took Bizet's music in 1943 and rewrote the book and lyrics. The result is largely a smashing success with a few missteps (the bullfighter in Bizet's piece becomes a heavyweight boxer here, which breaks up a certain grace in the story) and a couple of perfect stretches (the long prelude to Carmen and Joe's first embrace, set on Carmen's hoodoo-ish home turf). Despite the fact that both Dandridge and Belafonte were singers, their vocal performances were dubbed by LeVern Hutcherson and Marilyn Horne. (Yes, it is a little disconcerting to hear another voice come out of the more familiar Belafonte's mouth.) Otto Preminger directed with his usual eye on economy of action and production, as the numerous musical numbers tend to be shot in lengthy, single, carefully choreographed takes. The result can be a little visually static at times, but the passion behind the singing pulls everything through. --Tom Keogh

Small Steps - Big Strides: The Black Experience in Hollywood

Louis Gossett Jr. takes viewers through a special documentary celebration of the groundbreaking achievements of African-American performers and their contributions to Hollywood filmmaking. Spectacular film clips, rare behind-the-scenes footage, archival photographs and fascinating interviews chronicle nearly a century of tribulation and triumph. Gazing at the outstanding range of African-American stars on today's movie screens, it is hard to imagine a time when there were no black leading men or women, a time when all of the roles available for people of color were considerably less heroic than they are now. Social progress came in small steps on the silver screen, film by film, for equal visibility and dignity on the silver screen; now it is possible to honor their struggles, their talent and their sacrifices. From the jaw-dropping athleticism of dancers like Bill "Bojangles" Robinson and the Nicholas Brothers to the amazing singing of Lena Horne, Ethel Waters and Dorothy Dandridge; from the early comedy routines of the legendary Stepin Fetchit to gripping dramatic moments featuring Paul Robeson and James Earl Jones, this tribute to some of America's greatest entertainers draws from dozens of classic films. Highlights include Pinky, No Way Out, Stormy Weather, Carmen Jones, The Great White Hope -- and many more groundbreaking films. Rare footage from studio archives helps tell the inspiring story of performers whose talent and determination would help them surmount all obstacles along the road to success. Featuring exclusive interviews with the Nicholas Brothers, Gregory Hines, Diahann Carroll, Ruby Dee, Bobby Short and Donald Bole, Small Steps, Big Strides tells the moving story of African-American entertainers and their accomplishments in Hollywood.

Martin & Lewis Collection - Colgate Comedy Hour (17 episodes) and At War With The Army

Dorothy Dandridge: An American Beauty

Dorothy Dandridge was both goddess and trailblazer - - Magical in a nightclub, on television or in film - - Mysterious away from the lights, camera and action. Here is the Dorothy you haven't been introduced to - - a close-up look at her triumphant and tragic life.

Obba Babatunde, the man who played Harold Nicholas in "Introducing Dorothy Dandridge," hosts this one-hour program.

Interviews with *Halle Berry, *Brock Peters, *Fayard Nicholas, *Joe Adams, * Jasmine Guy, *Laurence Fishburne, and others, as well as unseen, rare footage and photographs help explain Dorothy Dandrige as never before.

Her personal life was full of torment and tragedy, yet fueled by her charisma, talent and strong will, Dorothy became Hollywood's first full-fledged black female movie star.

Born into a racist, sexist world, Dorothy Dandridge rose above its restrictions to become a cultural icon and set a new standard for American Beauty.

Sundown

Dorothy Dandridge - Singing at Her Best

These musical performances reveal a special insight into the depth of Dorothy's acting, singing and dancing talents. They help us to better understand just how Dorothy Dandridge became fIlmland's first black female superstar. Songs Include: • Paper Doll • Lazy Bones • Swing For My Supper • Cow Cow Boogie • Blow Out The Candles • My Heart Belongs To Daddy • You Do Something To Me Show Two: The Films Of Dorothy Dandridge Selected trailers of the films of Dorothy Dandridge: America's first Black film Goddess. 1. "Tarzan's Peril." 2. "The Harlem Globetrotters." 3. "Bright Road." 4. "Carmen Jones." (Nominated for an Academy Award for Best Actress.) 5. "Island in The Sun." 6. "Tamango." 7. "The Decks Ran Red." 8. "Porgy & Bess."

Carmen Jones [Region 2]

Few actresses have captivated the camera as powerfully as Dorothy Dandridge in Carmen Jones. Her polished beauty plays in irresistible contrast to her title character's leonine sexuality and fluid emotions; a man can't decide from moment to moment if he wants to save her from doom, build her a castle, or never let her out of bed. Of course, that's the problem with the boys in this semi-experimental adaptation of Bizet's opera, Carmen. Straight-arrow Joe (a strapping Harry Belafonte), an obedient corporal on a Southern military base during World War II, is all set to go to flight school and marry his hometown sweetie, Cindy Lou (Olga James), when his troublemaking sergeant orders him to accompany Carmen to a civilian court. In short order, Joe is swept up in Carmen's carnal anarchy and her craving for release from lousy options in life. An impulsive act of violence ensures that Joe's future is gone forever, putting Carmen in the difficult position of destroying their relationship to save him. Oscar Hammerstein II took Bizet's music in 1943 and rewrote the book and lyrics. The result is largely a smashing success with a few missteps (the bullfighter in Bizet's piece becomes a heavyweight boxer here, which breaks up a certain grace in the story) and a couple of perfect stretches (the long prelude to Carmen and Joe's first embrace, set on Carmen's hoodoo-ish home turf). Despite the fact that both Dandridge and Belafonte were singers, their vocal performances were dubbed by LeVern Hutcherson and Marilyn Horne. (Yes, it is a little disconcerting to hear another voice come out of the more familiar Belafonte's mouth.) Otto Preminger directed with his usual eye on economy of action and production, as the numerous musical numbers tend to be shot in lengthy, single, carefully choreographed takes. The result can be a little visually static at times, but the passion behind the singing pulls everything through. --Tom Keogh