6 Movies | November 8th
Dorothy Dandridge dazzled audiences with her special combination of beauty, sophistication, vulnerability and magnetism. Best known for her Academy Award nominated role in the musical Carmen Jones (1954), Dandridge was a versatile entertainer who took her work and her image seriously. She had a great sense of her appeal and leveraged her burgeoning fame into a career on the nightclub circuit and in movies. As a black woman working in Hollywood, Dandridge was careful about the projects she took on and mindful of what message her performances conveyed to audiences. She is often viewed as a tragic figure given her tumultuous marriages, her daughter Harolyn’s life-altering brain injury, her health problems, financial woes and her untimely death at the age of 42. Despite the many obstacles during her life, Dandridge blazed a trail changing perceptions of black women in film, setting the stage for more changes to come. In celebration of what would have been Dorothy Dandridge’s 100th birthday, TCM will be airing six movies, all important roles from different stages of her film career.
Born Dorothy Jean Dandridge on November 9th, 1922 in Cleveland, Ohio, Dandridge grew up in a showbiz family. Her mother Ruby was an actress and Dorothy and her sister Vivian performed as the Dandridge Sisters, along with their good friend Etta Jones. This song-and-dance trio caught the eye of casting director Charles Butler who recommended them for a musical number in the movie The Big Broadcast of 1936 (1935). Dandridge stood out in the trio and soon broke out on her own as a performer. According to film historian Donald Bogle in his book “Dorothy Dandridge: A Biography,” “her eyes were… dark and magnetic, already full of promise and dazzle. They were eyes that captured light and danced and sparkled; the kind of eyes that movie cameras came to adore…”
By the age of 15, Dandridge was already an accomplished performer appearing in night clubs and in movies. She sang in several soundies including A Jig in the Jungle (1941), Cow Cow Boogie (1942), and Zoot Suit (1942). She had a bit part in the Marx Bros. movie A Day at the Races (1937) and performed “Chattanooga Choo Choo” with the Nicholas Brothers in Sun Valley Serenade (1941). It was in the latter she caught the eye of Twentieth Century Fox executive Darryl F. Zanuck who, along with Otto Preminger, would be pivotal in Dandridge’s career as an actress.
Proving herself versatile, she found work in dramatic low-budget films like Four Shall Die (1940), Lady from Louisiana (1941), Sundown (1941) and Since You Went Away (1944). Dandridge’s movie career was put on hold when she married Harold Nicholas of the Nicholas Brothers in September of 1942. She soon settled into married life and the following year gave birth to her daughter Harolyn Suzanne Nicholas. Due to complications with the birth, Lynn suffered a brain injury that would greatly hinder her development. As she grew, it became clearer to Dandridge that her daughter would need professional help. When Dandridge and Nicholas separate and divorced, Dandridge revived her nightclub career and sought out film work to help pay for her daughter’s care.
During this time, she perfected her nightclub act by developing her singing voice and learning how to work the crowd. She was soon in high demand traveling all over the country and the world performing for eager audiences. She was also fine tuning her acting skills at the Actor’s Lab in Hollywood.
At this point in Dandridge’s acting career, she had mostly avoided the stereotypical roles that were primarily available to black actors in Hollywood. She was also keen to break out of Lena Horne’s shadow and establish herself as a leading lady. As a result, Dandridge became incredibly selective about the roles she took. Frustrated by the fact the roles of light-skinned black women in Pinky (1949) and Show Boat (1951) went to white actresses Jeanne Crain and Ava Gardner, respectively, Dandridge sought out other parts that offered a different depiction of black women in film.
RKO producer Sol Lesser cast Dandridge in Tarzan’s Peril (1951), the third movie starring Lex Barker as Tarzan and the first in the series with actual location shooting in Africa. Dandridge played Melmendi, the recently coronated queen of the Ashuba tribe. The climax of the film has Melmendi tied up as Tarzan rescues her from the clutches of a rival tribe leader. The rescue sequence caused much concern for Joseph Breen’s censorship office who was adamant about playing down the scene’s potential sexual implications. Director Byron Haskin worked with these restrictions but still managed to shoot a sexually charged scene where the viewers quickly forgot about Jane and were tantalized by the image of Tarzan and Melmendi. This suggestion of an interracial romance was a precursor to some of the roles Dandridge would play later in her career.
Next up for Dandridge was a pair of studio pictures with all-black casts. For Columbia she starred in The Harlem Globetrotters (1951), a B-movie melodrama that the studio hoped would attract both sports fans and a black viewership. For MGM, she starred in the tender melodrama Bright Road (1953) directed by Gerald Mayer. Dandridge played Jane Richards, a sensitive new teacher at an all-black school who takes a special interest in C.T. (Philip Hepburn), a troubled student in her class. Harry Belafonte played the school principal Mr. Williams in his film debut. Donald Bogle writes, “even as an African-American film, Bright Road was an anomaly for the period, being neither a musical nor a treatment of racial issues… Dandridge, in particular, was thrilled to be in a film that broke the mold and ‘showed that beneath any color skin, people are simply people.’” Bright Road was shot in 17 days and Dandridge earned $1,500 a week. Her sister Vivian got a small role as a fellow schoolteacher and also assisted Sydney Guilaroff as a hair stylist.
Bright Road demonstrated that Dorothy Dandridge had the charisma and screen presence required for a bonafide leading lady. What came next for Dandridge would prove to be the pinnacle of her acting career. A role that was a far cry from the demure and kind schoolteacher she had just played.
When Dandridge learned of Carmen Jones, Otto Preminger’s upcoming film adaptation of Oscar Hammerstein’s musical, she knew the lead role had to be hers. Set during WWII and featuring an all-black cast, Hammerstein’s musical was a modern adaptation of the classic Georges Bizet tragic opera “Carmen.” Preminger had his finger on the pulse of changing public tastes and knew that audiences were ready for a movie version of this story. Preminger had just left his contract with Twentieth Century Fox and in a strange turn of events returned to the studio as an independent filmmaker when Darryl F. Zanuck expressed interest in producing Carmen Jones. Preminger cast Harry Belafonte, Brock Peters, Diahann Carroll, Pearl Bailey, Olga James and began his search for his leading lady.
Dandridge’s manager Earl Mills put in a good word with Ingo Preminger who brought Dandridge to the attention of his brother Otto. She almost lost the part when she auditioned for Otto Preminger dressed in a prim skirt suit. Preminger found her too poised, too elegant for the part. He even encouraged her to play the role of Cindy Lou, a role more like what she’d played in Bright Road. Still vying for the lead role, Dandridge gave herself a sexy makeover and approached Preminger again for the part. Preminger was impressed with Dandridge’s transformation and, according to Bogle, proclaimed “My God, It’s Carmen!”
Carmen Jones was a sexually charged drama shot in Technicolor and widescreen CinemaScope. Dandridge lit up the screen as Carmen, a worker at a parachute factory who seduces Joe (Harry Belafonte) effectively stealing him from his kind-hearted girlfriend Cindy Lou (Olga James). Due to negotiations with the Bizet estate, the singing voices of Belafonte and Dandridge were dubbed by professional opera singers. Despite her strong desire for the role, Dandridge was nervous to be associated with her character. Always concerned about projecting an image of sophistication and respectability, her character was a far cry from that, and she was concerned that the public would not separate the two.
The movie premiered October 1954 and was a huge hit. Dandridge, dressed as Carmen, was photographed for the cover of LIFE magazine. Soon, she was nominated for an Academy Award for Best Actress, the first ever nomination for a black woman in the business. Hattie McDaniel and Ethel Waters had previously been nominated for supporting roles. Dandridge ultimately lost the coveted statue to Grace Kelly.
This role catapulted Dandridge into the stratosphere. She was in high demand on the night club circuit and was being offered movie roles left and right. Unfortunately, a series of false starts, recast roles and delayed productions meant that Dandridge wouldn’t appear on screen again for nearly three years.
When Darryl F. Zanuck acquired rights to Alec Waugh’s novel “Island in the Sun,” he sought out Dandridge for the role of Margot Seaton, a West Indian woman who has an interracial romance with a white man. Directed by Robert Rossen, Island in the Sun (1957) explored the political and racial tensions of a fictional Caribbean nation. Among the various storylines, its best known for featuring three interracial romances, the most prominent one being between Harry Belafonte and Joan Fontaine. There was a battle with Breen’s office to get the adaptation to fit Production Code rules. Much of the character of the original novel was stripped from the story. Dandridge was frustrated with her character, especially given the fact that the on screen romance never culminated in a kiss. Despite having a small supporting role in the film, she received third billing after James Mason and Joan Fontaine. Critics were harsh on the film but ultimately it was a financial success, drawing curious moviegoers to the cinema.
Appearing again with James Mason, Dandridge played Mahia in director Andrew L. Stone’s shipboard drama The Decks Ran Red (1958). Stone reached out to Dandridge for the part which was a small but fully realized role as the sole woman aboard a ship during a mutiny. Bogle notes in his biography on Dandridge that, “in the past, Hollywood would have used a White actress in such a role, particularly since the character is the sexual focal point throughout. By casting Dandridge, Stone, of course, titillated the audience with the idea of interracial romance. One gorgeous Black woman being eyed by three virile White men.”
Dandridge went on to star in Tamango (1958), director John Berry’s powerful drama about a real life slave ship rebellion. Because the movie was a French-Italian production, it did not have to seek Production Code approval from Breen’s office. Dandridge plays Aiché, a slave woman and companion to the ship’s captain John Reinker (Curd Jürgens). Unlike Island in the Sun, in Tamango the interracial love scenes were more explicit with Jürgens and Dandridge sharing an on screen kiss. Expecting backlash, Berry made two versions, one with and one without the more explicit scenes and in both French and English. Dandridge had script approval, was paid $10,000 a week and was outfitted with a private suite on the French Riviera and a personal entourage.
While not her final film, Porgy and Bess (1959) proved to be Dorothy Dandridge’s last hurrah as a movie star. Directed by Otto Preminger, after Samuel Goldwyn fired Rouben Mamoulian from the production, Porgy and Bess was an adaptation of George Gershwin’s opera and Dorothy and DuBose Heward’s play “Porgy.” This all-black musical starred Sidney Poitier and Dorothy Dandridge in the lead roles with a cast that also included Sammy Davis Jr., Ivan Dixon, Pearl Bailey, Brock Peters and Diahann Carroll. It was a tumultuous production and the story’s controversy could not be further from Dandridge’s mind. But leading roles for black actresses were scarce and this was another prime opportunity to star in a major production. After Porgy and Bess, Dandridge starred in the jewel heist movie Malaga (1960) which featured an interracial romance with Trevor Howard.
Plagued with personal problems, health issues and financial woes, Dandridge began to retreat from the public eye. Prospects dried up, including Raoul Levy’s Marco Polo biopic which was to star Dandridge and French movie star Alain Delon. On September 8th, 1965, Dorothy Dandridge died in her Los Angeles home of an accidental overdose. She was 42-years-old. One hundred years after her birth, Dandridge’s legacy as a charismatic performer and black icon lives on through her many heartfelt performances.
