A glittering achievement in cinema due to its all black cast, Carmen Jones was adapted by director Otto Preminger from Oscar Hammerstein’s hit Broadway musical, which was itself based on George Bizet’s classic 19th century opera Carmen. Though slightly stilted in its execution, the still sultry and dramatic performance of Dorothy Dandridge, who became the first African American to receive a Best Actress Oscar nomination for her performance as the title character, makes the film well worth watching.

Set during World War II, Joe (Harry Belafonte) is a well respected soldier on guard duty at a parachute factory when he learns that he’s been selected for pilot training school. His girlfriend, Cindy Lou (Olga James), has come for a visit before he heads off. One of the factory girls, the sensual Carmen Jones (Dandridge) has her eye on Joe, but he offers no interest, claiming devotion to the virginal Cindy Lou. Joe is assigned to deliver Carmen to prison after she gets into a fight with a co-worker at the parachute factory. However, on the way there, Carmen persuades Joe to stop at her grandmother’s home for dinner, from which she eventually escapes after seducing him.

Joe is arrested for failing to do his duty, but eventually catches up with Carmen at a nightclub where she’s enjoying time with her friends Frankie (Pearl Bailey) and Myrt (Diahann Carroll). After egotistical boxing champ Husky Miller (Joe Adams) offers to take Carmen and her friends to Chicago, a fight between Joe and his superior officer forces the couple to flee to Chicago. Now AWOL, and caught up in Carmen’s wanton ways, Joe’s once stable, orderly life is in shambles. Despite everything he’s done to her, Cindy Lou still loves Joe. Can she untangle him from Carmen’s web before it’s too late?

Despite the noted vocal talents of many of the film’s actors, everyone’s singing voice (with the exception of Pearl Bailey) was dubbed, which seems a shame, but I’m sure the studio wanted to get the authentic operatic feel. Kudos to director Otto Preminger, who had experience with using Cinemascope  in 1954’s River of No Return and brought that effectively to bear in Carmen Jones. There are several sequences where he holds medium close shots for long periods, relying on a performer’s expressiveness and the music to grip the viewer. Cindy Lou’s performance of “He Got His Self Another Woman,” near the end of the film, is a good example of that approach.

All of the actors are effective in their roles, but Dorothy Dandridge brings Carmen Jones to life. From the moment she steps on the screen, Dandridge is believable a sexy temptress who eats up men and spits them out. At just 32, such a convincing performance, combined with her Oscar nomination should have made Dorothy Dandridge one of Hollywood’s hottest properties. Unfortunately, in 1954 parts for African American actresses were few and far between. It was four years before she made another film.  Dandridge died in 1965, virtually penniless, after overdosing on alcohol and barbiturates. Carmen Jones stands as a wonderful showcase of Dorothy Dandridge’s notable talents.

Presented in widescreen letterboxed 2.55:1 format, Carmen Jones looks wonderful. Lacking the vividness of Technicolor, the DeLuxe color process used here is warm and nicely calibrated. The print itself doesn’t show any real signs of age, despite being nearly sixty. I noticed a small scratch or two, but that’s it.

The DTS-HD Master Audio 4.0 soundtrack is surprisingly full. Dialogue is clear and well placed in the center channel. Atmospherics are pleasing, and the musical numbers are free of any distortion.

English SDH, Spanish and French subtitles are available.

The following extras are included:

  • Theatrical Trailer (SD, 2:47)