Carmen Jones

Otto Preminger has transferred it to the screen with taste and imagination in an opulent production.

Impeccably liberal in its time, the film has not aged gracefully, although Dorothy Dandridge's performance in the lead remains a testimony to a black cinema that might have been.

The somewhat heavy-handed direction and the ultimately two-dimensional characters leave you admiring the workmanship without plucking at the necessary emotional/romantic heart-strings.

A crazy mixed-up film.

If you're not a fan of opera, you probably won't care much for 'Carmen Jones,' despite some pretty solid acting and scenes that bring postwar America to life.

Dorothy Dandridge became the very first black woman to receive Best Actress Oscar nomination for Otto Preimger's audacious (for the early 1950s) all-black musical of the famous opera.

A film in which talented, attractive people sing ugly lyrics to beautiful music in other people's beautiful voices amid ugly shot framing and ill-timed cutting.

Electric performance by Dorothy Dandridge as the sultry whorish Carmen Jones.

Preminger's heavy-handed adaptation of a Broadway triumph combines gorgeous music with risible lyrics by Oscar Hammerstein II; the project is saved by a terrific cast.

The best reason to revisit Carmen Jones lies in Dorothy Dandridge's electrifying performance, which saw her become the first African-American to be nominated for a Best Actress Oscar.

Every frame, you feel, is freighted with the tension imposed by the never-appearing white folks. It was, however, laudable in its desire to showcase the talents of African-American performers who were denied opportunities in Hollywood.

Woefully miscast in places and extremely dubious in its portrayal of African-Americans but does boast an on-form Dorothy Dandridge.