Watching "Carmen Jones," produced and directed by Otto Preminger from Oscar Hammerstein's update of the Bizet opera, is a very otherworldly experience, not at all comfortable but somehow challenging. On the one hand it's an interesting look at the racial differences embedded into the society at the time; on the other hand, it's a wild and vivacious bit of showmanship.
Dorothy Dandridge is magnificent as the title character, that free-spirited, free-loving parachute factory worker whose romantic entanglement with conflicted Joe (Harry Belafonte in another good performance) kicks off one of the most unique movie musicals in history.
The music direction is definitely the highlight of the film, sounding absolutely incredible. I can't believe it didn't win the Oscar. Familiar faces in supporting roles include Diahann Carroll and Brock Peters, and it's always fun to see them. But "Carmen Jones" is not "fun," per se.... Not for long.
The first few scenes establish a riveting pace and high level of energy that the film is not quite able to maintain. Carmen's antics are not amusing for long, and the songs descend in quality from the magnificently catchy "Dat's Love" to the frantic, busy "Card Song" and the chillingly titled "String Me High On a Tree." Maybe it's the cultural climate in 2010 attempting to do battle with that of 1954, but it's uncomfortable. Very much so.
Of course, they don't make movies like this anymore.
Dorothy Dandridge is magnificent as the title character, that free-spirited, free-loving parachute factory worker whose romantic entanglement with conflicted Joe (Harry Belafonte in another good performance) kicks off one of the most unique movie musicals in history.
The music direction is definitely the highlight of the film, sounding absolutely incredible. I can't believe it didn't win the Oscar. Familiar faces in supporting roles include Diahann Carroll and Brock Peters, and it's always fun to see them. But "Carmen Jones" is not "fun," per se.... Not for long.
The first few scenes establish a riveting pace and high level of energy that the film is not quite able to maintain. Carmen's antics are not amusing for long, and the songs descend in quality from the magnificently catchy "Dat's Love" to the frantic, busy "Card Song" and the chillingly titled "String Me High On a Tree." Maybe it's the cultural climate in 2010 attempting to do battle with that of 1954, but it's uncomfortable. Very much so.
Of course, they don't make movies like this anymore.