Dorothy Dandridge @ 100: "Island In the Sun"

by Cláudio Alves

"Island in the Sun" | © 20th Century Fox

After Carmen Jones proved a financial triumph and earned Dorothy Dandridge a ground-breaking Best Actress nomination, 20th Century Fox signed her for a three-picture deal. As Baby Clyde mentioned in part one of this centennial, Darryl F. Zanuck was invested in Dandridge's success, planning to make her a screen icon unlike any other Black performer in Hollywood history up to that point. Unfortunately, however, nearly every project fell through, including a remake of The Blue Angel that would have seen Dandridge take on Marlene Dietrich's star-making role. Even so, while absent from the big screen, her fame rose.

So high was Dandridge's profile that she became a target for Confidential magazine's libelous articles. The erstwhile Carmen Jones was one of the few stars to testify against the publication in a series of suits that brought along its downfall. In 1957, Dorothy Dandridge's victory in court coincided with her return to the big screen. Island in the Sun was her first film in three years… 

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Dorothy Dandridge @ 100: "Carmen Jones"

Team Experience is revisiting a few Dorothy Dandridge movies for her centennial

by Baby Clyde

Groucho Marks famously described Grace Kelly’s Best Actress win at the 1954 Oscars as ‘The greatest robbery since Brinks’. I think we can all agree that a terrible crime was committed, but Judy Garland wasn’t the only victim on the night of March 30th, 1955. Dorothy Dandridge was a sensation in Carmen Jones becoming the first Black woman to receive a Best Actress nomination. In any other year, her loss would be seen as a huge scandal but because of Judy’s legendary star turn in A Star Is Born the fact that Ms Dandridge was also deserving has been almost entirely overshadowed...

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NYFF: Margaret Qualley anchors ‘Stars at Noon’ from Claire Denis

By Abe Friedtanzer

At the NYFF introduction of Stars at Noon, the most recent work by Claire Denis,  it was noted that the acclaimed auteur doesn’t have a consistent style or preferred genre in her filmmaking. Recent works like High Life and Let the Sunshine In, both of which screened at NYFF and featured her frequent collaborator Juliette Binoche, are not at all indicative of her two 2022 films (the other is Both Sides of the Blade). Stars at Noon is another about face. It's a romance mired in political mystery, a puzzle that never truly feels like it needs to be solved.

Stars at Noon is based on the 1986 book by Denis Johnson that's set during the then-recent Nicaraguan War. Denis has updated the material to the present, and centered it on Trish (Margaret Qualley), an American journalist who has clearly outstayed her welcome and is struggling to find the big story that will get her back on track...

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TIFF Diary #5: Disappointing Oscar bait and a surprise favourite

by Baby Clyde

Hugh Jackman and Florian Zeller on the set of "The Son"

Today I had no mid-film snooze problems. The screenings started at midday with Florian Zeller’s adaptation of his own play The Son. I saw the original London production back in 2019: Great performances. Terrible play. Though Zeller has ironed out some of the innate staginess of the source material The Son can’t overcome the fact that this is not a play about the teenage depression epidemic but rather about absurdly inept parenting. The choices made are so ludicrous and the reasoning so shallow I laughed out loud on numerous occasions. They also kept the queasily distasteful, possible twist as a coda which is no less objectionable on film than it was on the stage. Sir Anthony pops up briefly in what is presumably a reprise of his character from The Father. He makes more impact in three minutes than the rest of the cast do in the other two hours of contrived torment. Consider it the first proper clunker of this Oscar season.

Empire of Light was next and has seemingly been genetically engineered in a film lab to garner Oscar noms...

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TIFF: Melissa Barrera and Paul Mescal in the Dazzling ‘Carmen’

By Abe Friedtanzer

There have been many films recently about young women crossing the border from Mexico to the United States and coming across someone whose attitude towards illegal immigrants softens considerably after the chance meeting. But Carmen is something different entirely, an update of much older material, based on a Seville-set novella and opera from the 1800s by Prosper Mérimée. This time the setting is present day in surroundings that will be more familiar to audiences but just as enchanting…

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